Paradigms of Tonal Chord Progression

Paradigms of Tonal Chord Progression

Robert Kelley

Tonal Idioms

Tonic Expansion	Pre-Dominant Progression	Cadence Points
I I6 (substitute chord) I V6 I (neighbor) I V65 I (neighbor) I vii°7 I (neighbor) I V64 I6 (passing) I V43 I6 (passing) I vii°6 I6 (passing) I vii°65 I6 (passing) I ii7 I6 (passing) I V42 I6 (passing) I vii°43 I6 (passing) I IV I6 (passing) I IV I (neighbor) I IV64 I (pedal) I IV6 I6 (passing)	vi IV ii vi ii IV ii vi IV V/V vi V/V IV V/V IV vii° iii vi ii vi IV bII6 vi bII6 IV bII6 ii bII6 vi It/Fr/Ger +6 IV6 It/Fr/Ger +6 ii It/Fr/Ger +6	Half Cadences: V V4-3 I64 V (V64--53) Authentic Cadences: V I V4-3 I I64 V I (V64--53 I) Contrapuntal Cadences (Clausulae): V6 I vii°7 I V42 I6 Deceptive Cadences: V vi V4-3 vi I64 V vi (V64--53 vi)

The passing bass figures between I and I6 can also be used from I6 to I.
Pre-Dominant chords can often be inverted and/or used as seventh chords (except bII6)
Secondary dominants can be used before most Pre-Dominant chords (i.e. V7/IV IV V7/ii ii) and can appear in any inversion.
Authentic cadences (but not half cadences) can use V7 instead of V
Except where indicated, cadences must involve root position chords.
Dominant and Pre-Dominant chords may also be "expanded" using the same types of embellishing chords as were used with Tonic Expansion. Good examples of this include V IV6 V6, V6 V43/V V, and IV6 I64 IV.

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