Typical harmonic sequences








Baroque Sequence

The following type of sequence is very often used in the baroque music:
C: F: Bmi5-: Emi: Ami: Dmi: G: C

This sequence has very high continuity.


Harmonic connection Continuity Impulse
EmiAmi, GC, CF +1.56 2.11
Bmi5-Emi, FBmi5- +1.11 2.11
DmiG +0.89 1.22

The total continuity of a sequence is equal to sum of continuities of partial connections:
c(s) = c(C,F)+c(F,Bmi5-)+c(Bmi5-,Emi)+c(Emi,Ami)+c(Ami,Dmi)+c(Dmi,G)+c(G,C)
c(s) = 1.56+1.11+1.11+1.56+1.56+0.89+1.56 = 9.35

Example of Mozart's Sequence

The beginning of Mozart's overture to opera Don Giovanni:

Extreme continuty- red, extreme impulse -black.

Jazz Sequences

A normal jazz sequence (e.g. Ami7: D7: Gmi7: C7 ) resembles the baroque one as to the succession of the continuity.

The chromatic jazz sequence (e.g. E7: D7: C7: B7 ) has, on the contrary, the extreme impulse of all partial connections.

Infrequent classical connections

Natural modality.
The chords with the highest continuity to the tonic (dominants) were rarely connected to other then tonic tones.
The connections from the dominant sorted by continuity:

Harmonic connection Note Continuity Impulse
GC to tonic +1.56 2.11
GEmi +0.89 0.56
GAmi the fallacy +0.44 2.78
GF infrequent 0.00 2.78
GBmi5- complex G7 -0.67 0.56
GDmi infrequent -0.89 1.22

Harmonic minor modality.
The connections from the dominant sorted by continuity:

Harmonic connection Note Continuity Impulse
EAmi to tonic +1.11 2.67
EF +0.44 4.00
EDmi infrequent +0.44 3.11
EC5+ +0.44 1.33
EBmi5- infrequent -0.44 1.78
EG#5- complex E7 -0.67 0.56

The other infrequent connections:
AmiC,DmiF,EmiG (natural modality)
FAmi, Bmi5-Dmi (harmonic minor modality)

Harmonic connection Note Continuity Impulse
Bmi5-Dmi complex Bmi7/5- -0.67 0.56
AmiC, DmiF, EmiG complex Xmi7 -0.89 0.56
FAmi (CEmi) complex Xmaj7 -1.33 1.56


Harmonic bindings