Old Music Theory

Theory of the Great Composers

4.1 First Order Progressions

These 3 progressions can be used regardless of the chord that we leave and chord that we arrive at, good or bad. One can already construct satisfying chord progressions by their use alone; that’s why they’re called First Order Progressions.

1. Progression by a third below, or its inversion, the sixth above:

2. Progression by a fourth below, or its inversion, the fifth above:

3. Progression by a fifth below, or its inversion, the fourth above:

Exercise:
Practice playing in different tones, connecting chords by intermingling the different First Order Progressions, similar to how they appear in the following Basses:

NOTE: the 7th degree of the two modes is not used, and the 3rd degree of the minor mode does not exist.

BOOK I: Chords

Introduction

Preliminary Notions — Basic Concepts

Part I. Consonant Chords

1. Triads
2. Realization of Harmony
3. Tonality of Chords
4. Chord Progressions
5. Chord Modifications, Placement, and Duration
6. Figured Bass
7. Triad Inversions
8. Phrases, Period, and Form
9. Cadences
10. Modulation
11. Harmonic Marches
Supplementary Chapter for Consonant Chords

Part II. Dissonant Chords

13. Dissonant Chords
14. Seventh Chords
15. Ninth Chords
16. Alterations
17. Altered Chords

Supplementary Chapter

Appendix

BOOK II: Accidental Notes

Part I. First Class Accidental Notes

20. Delays