Harmonic Sequence Fact Sheet

D2 (descending circle-of-fifths sequence)

For applied chords variations add before or after any major or minor chord in the
sequence. Remember that you cannot tonicize a diminished chord, so you have several
options in dealing with this problem.

1.) Turn that diminished chord into the V7 or viio7 of the chord it precedes. For
example.

Model Copy Copy

diatonic I IV viio iii vi ii V I
applied I IV V7/iii iii V7/ii ii V I

2.) OR you can use a minor key and use the subtonic chord. Add an applied
chord before each chord expanding the model into four chords.

Model Copy
diatonic I IV VII III VI iio V I
applied I V7/IV IV V7/VII VII V7/II III V7/VI VI iio V I

As a rule remember these things about applied chord sequences using the D2
pattern:
1.) In minor, you can start on tonic and you won’t run into a diminished chord until
the iio.
2.) In major, begin the sequence on iii chord and avoid the viio.
3.) Start as a diatonic harmonic sequence then switch to an applied chord variation.

D3 (descending 5-6)

1. Use the applied chords for every other chord.

2. D3 applied chord sequences are most often found in a major key.

diatonic I V vi iii IV I or ii V-I

applied I V7/vi vi V7IV IV
I viio7/vi vi viio7/IV IV

A2 (-3/+4)

1. Use applied chord for every other chord.

diatonic I vi6 ii viio6 iii I6 IV ii6 V-I

applied I V/ii ii V/iii iii
A2 (+5/-4)

diatonic I V ii vi iii I6 IV ii6 V-I

applied I V/ii ii V/iii iii

Summary

D2 Model Copy Copy Cadence

diatonic I IV viio iii vi ii V I
applied I IV V7/iii iii V7/ii ii V I
D2 var. Model Copy
diatonic I IV VII III VI iio V I
applied I V7/IV IV V7/VII VII V7/II III V7/VI VI iio V I
D3 Model Copy Copy Cadence
diatonic I V vi iii IV I or ii V I
applied I V7/vi vi V7IV IV I or ii V I
I viio7/vi vi viio7/IV IV I or ii V I
A2 Model Copy Copy Cadence
diatonic I vi6 ii viio6 iii I6 IV or ii6 V I
applied I V/ii ii V/iii iii I
A2 Model Copy Copy Cadence
diatonic I V ii vi iii I6 IV or ii6 V I
applied I V/ii ii V/iii iii I
 Harmonic Sequences
Diatonic and Applied Chord

D2 Diatonic
œ œœ œœ œœ œœ
& œœ œ œ œ œœ
œ œ œœ
œ
œœ
œ
? œ œ
{ I
œ
IV
œ
viio
œ
iii
œ
vi
œ
ii
œ
V I

D2 Diatonic with inversions

œ œœ œœ œœ œœ
& œœ œ œ œ
œœ
œ œ
œœ
œ
œœ
œ
? œ œ
{ I
œ
IV6
œ
viio
œ
iii6
œ
vi
œ
ii6
œ
V I

D2 Diatonic with alternating 7th chords

œ œœœ œœ œœœ
& œœ œ
œœ
œ
œœœ œœ
œ
œœ
œ
? œ œ
{ I
œ
IV7
œ
viio
œ
iii7
œ
vi
œ
ii7
œ
V I

D2 Diatonic with alternating 7th in first inversion

œ œœ œœ œœ
& œœ œ œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
? œ œ
{ I
œ
IV6/5
œ
viio
œ
iii6/5
œ
vi
œ
ii6/5
œ
V I
2 D2 Diatonic with interlocking 7ths
œ œœœ
& œœ œœœ œœœ œœœ œœœ œœœ œœ
œ

? œ
{ I
œ
IV7
œ
viio7
œ
iii7
œ
vi7
œ
ii7
œ
V7
œ
I

D2 Diatonic with interlocking 7ths with alternating 4/2 chords

œ œœ œœ œœ œœ œœ œœ
& œœ œ œ œ œ œ œ
œœ
œ
œœ
œ
œœ
œ
˙˙
˙
? œ œ
{ I ii4/2
œ
V6/5
œ
I4/2 IV6/5
œ œ\
vii 4/2
œ
iii6/5
œ
vi4/2
œ
ii6/5 V4/2
œ ˙
I6

D2 with Applied chords

copy copy
œœ model œœœ #œ œœ #œœ œ nœœ
& œ # œœ œ œ nœœ œœ
œ œ
? œ œ
{ I
œ
IV
œ
V/iii iii
œ œ
V/ii
œ
ii
œ
V I

D2 with Applied chords and alternating 7ths

œœ model œœœ #œœœ œœ #œœœ œœ œœœ nœœ
& œ œ œ œ
? œ œ
{ I
œ
IV
œ
V7/iii iii
œ œ
V7/ii
œ
ii
œ
V7 I

D2 with Applied chords and interlocking 7ths

œœ model œœœ #œ nœ
& œ # œœ # œœ n#œœœ #nœœœ nœœœ œœ
n œœ
C F7 B7 E7 A7 D7 G7 C
? œ
{ I
œ
IV7
œ
V7
œ
V7
œ
V7
œ
V7
œ
V7
œ
I