Harmonic Progressions

HARMONIC PROGRESSIONS
AND MODULATIONS

Roman numerals, when separated by dashes, do not always show the durations of chords.
When preceded by the cadences page, the organization here is similar to that at the beginning of the harmonic dictation page.

TONIC - DOMINANT - TONIC

Beethoven: Fur Elise	i - V - i ; i - V - i
Schubert: Unfinished Symphony: I	3/4: I \| V \| V \| I \|\|
Tchaikovsky: Waltz from Swan Lake	I - V - I
Beethoven: Sonata No. 8 Op.13 "Pathetique"	i - V7 - i
Rossini: Overture to William Tell	I - - - - V , I (fade)

DOMINANT EXPANSION WITH THE CADENTIAL 6/4

Schubert: Introduction to "Erlkonig"	last 3 meas's: 4/4: ii6/5 (V6/5ofV)\| cad6/4 V7 \| i \|\|
Beethoven: Symphony No. 9	4/4: I \| V \| I \| cad6/4 V \|\|
Schubert: Ave Maria	I - cad6/4 - V - vi
Verdi: Aida: Introduction to "La Fatal Pietra"	on the beats, meas's. 2 & 3: 4/4: i6 iv6 cad6/4 V7 \| i - - - \|\|

THE DOMINANT PREPARATIONS ii and IV

J. Strauss: Blue Danube Waltz	ii - V - I
Schubert: Ave Maria	vi - ii6 - V - I
Bizet: Habanera from Carmen	2/4: I \| I \| I \| I \| ii \| ii \| ii \| V - - - \| I V I \|\| (first meas. incomplete)
Tchaikovsky: Piano Concerto No. 1	I - ii - V - I - V
Grieg: Piano Concerto Kjell Baekkelund, piano	i - iv6 - V6
Mozart: Piano Concerto No. 17, K. 453, III	4/4: I \| V I \| ii6 V7 \| I \|\|
Mozart: Flute Concerto No. 2, K. 314, II	3/4: I \| IV \| Cad.6/4 V7 \| I (with appogiatura) \|\|
Bach: Prelude 1 from Well Tempered Clavier Edwin Fischer, piano	I ii4/2 V6 I

CIRCLE OF FIFTHS PROGRESSIONS

Vivaldi: Spring: I from The Four Seasons

vi ii V I (V) I

TONIC EXPANSIONS

Attr. to C. Pezold: Minuet 1 from The Notebook of A M Bach	I to I6 with bass passing tone
Handel: Andante from Water Music	i to i6 with bass passing tone
Bach: Chorale Harmonization	i - vii^o6 - i6
Bach Family: Chorale from The Notebook of A M Bach	I - vii^o6 - I6
Schumann: "The Wild Horseman"	i - iv6/4 - i
Hofstetter (formerly attr. to Haydn): String Quartet Op. 3 No. 5	I - IV6/4 - I
Beethoven: Symphony No. 3, "Eroica"	I6's and Arpeggiated I6/4's
Handel: "Hallelujah" from Messiah	I - IV I, I - IV I, I IV I, I IV I, I V - I
Beethoven: Sonata Op. 27, No. 2, "Moonlight"	i - V6/5 - i
Schumann: The Happy Farmer	I IV I with Arpeggiated 6/4's
Bach Family: Minuet 2 from The Notebook of A M Bach	3/4: I - V \| I - - \| I - V \| I - - \| IV - - \| I6 - - \| . . .

OTHER DOMINANT EXPANSIONS AND EXPANSIONS OF ii and IV

Beethoven: Piano Concerto No. 4: III Leon Fleisher, piano	2/4: IV - \| IV - \| IV - \| IV - \| ii - \| V - \| V - \| I - \| ii V \| I - :\|\|
Vivaldi: Summer, II from The Four Seasons	i - - - \| vii^o6 - V - \| i - - - -\|\|

TO III IN MINOR

Beethoven: Fur Elise	i V i, i V i, III V7/III i V
Mozart: Rondo Alla Turk	i - - - v - - - III V/III, III V/III , i v...
Liszt: Hungarian Rhapsody No. 2	i iv7 i, III V/III III V i

MODULATIONS

Handel: Hornpipe from Water Music	to V
Schumann: Chorale from Album for the Young Diane Hidy, piano	to V
Mozart: Eine Kleine Nachtmusik: III	to V
Clementi: Sonatina Op. 36, No. 1: I	to V
Offenbach: from Orpheus in Hades	to IV
Vivaldi: Spring: I from The Four Seasons	to relative minor
Handel: Adagio from Water Music	to relative major
Tchaikovsky: Piano Concerto No. 1	to relative major
Haydn: Symphony No. 94 "Surprise": II	to parallel minor
Bizet: "Habanera" from Carmen	to parallel major

HARMONIC PROGRESSIONSAND MODULATIONS

HARMONIC PROGRESSIONS
AND MODULATIONS