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Introduction

Basics

Introduction to Cadences

Simple Prolongation

First Analysis

Decorations

More Prolongations

Analysis

Sequences I

Introduction Melodic Motion Secondary Dominants Examples

Cadence Variations

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Examples of cycle of fifth progressions can be found everywhere. Here are a few, from the opening pages of the Toronto Conservatory grade 6 piano repertoire album.

In the first example, by Handel, there are two chords per bar. The motions of the 7^th and 3^rd are quite clear, with the roles of the two voices reversing from one chord to the next.

   Handel, Allemande in A minor

The next example is longer. At first the chord changes are slow (every two bars), but then the harmonic rhythm speeds up and there is one chord change per bar. The roots of the chords are E – A – D – G – C – F and B. The resolutions of the 7^th and 3^rd are clear in almost every case.

   J.S. Bach, Little Prelude in D minor

In the following example the falling 7^th motion is always in the top voice, while the rising 3^rd appears consistently in the bass. This is accomplished by means of a voice exchange. In the second measure, for example, the C in the bass is transferred to the upper line on beat two, and the E in the right hand is transferred to the bass on the third beat. Note the extensive use of secondary dominants here.

   Domenico Zipoli, Sarabanda in G minor