Sequence (music)

In music, a sequence is the restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice.

At least two instances of a sequential pattern—including the original statement—are required to identify a sequence, and the pattern should be based on several melody notes or at least two successive harmonies (chords).

The device of sequence epitomises both the goal-directed and the hierarchical nature of common-practice tonality.

It is particularly prevalent in passages involving extension or elaboration; indeed, because of its inherently directed nature, it was (and still is) often pulled from the shelf by the less imaginative tonal composer as the stock response to a need for transitional or developmental activity.

Whether dull or masterly, however, the emphasis is on the underlying process rather than the material itself.Ritornellos and the amplification from melodies to Baroque lyrics are often built from sequences.

[6] It usually consists of a series of chords whose bass or "root" notes follow a pattern of descending fifths (or ascending fourths).

[8] The sequence is almost never unadorned as shown above, but is generally filled in with intervening chords.

[7][8] A well-known popular example of a threefold descending fifths diatonic sequence is found in the refrain from the Christmas carol "Angels We Have Heard on High,"[4] as illustrated immediately below ("Glo...ria in excelsis Deo").

The one-measure melodic motive is shifted downward at the interval of a second, and the harmonic aspect does so likewise by following the circle of fifths Playⓘ: The following threefold ascending 5-6 chromatic (non-diatonic) sequence occurs in the duet of Abubeker and Fatima from Act III of César Cui's opera Prisoner of the Caucasus (compare a similar passage in the famous Rodgers and Hammerstein song "Do-Re-Mi," composed almost exactly 100 years later) Playⓘ: Handel's "For Unto Us a Child is Born" (HWV 56) relies quite heavily on both melodic and harmonic sequencing, as can be seen in the following excerpt.

[4] Another can be found in Arcangelo Corelli's sonata de camera gigue in Em.

Melodic sequence on the lines "Send her victorious," and "Happy and glorious," from " God Save the Queen " Play ⓘ
J.S. Bach Concerto for Two Violins in D minor, first movement, bars 22-24
J.S. Bach 's Concerto for Two Violins in D minor, first movement, bars 22-24
The opening bars of "The Star-Spangled Banner"
Opening bars of " The Star-Spangled Banner "
From "The Star-Spangled Banner"
From "The Star-Spangled Banner"
J.S. Bach Prelude from Cello Suite in G
J.S. Bach Prelude from Cello Suite in G, BWV 1007
Mozart Minuet in F, K 5
Mozart Minuet in F K6
Bach Air from Suite 3
from J.S. Bach's the "Air" from the Suite 3 in D, BWV 1068, bars 3-4
Descending fifths sequence
A descending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff. Play ⓘ
Ascending fifths sequence
An ascending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff similar to the descending fifths sequence, except going in the opposite direction. Play ⓘ
The basic pattern of a descending 5-6 sequence, with intervening chords removed.
The basic pattern of a descending 5-6 sequence (with intervening chords removed) in C major. The pattern in the lower staff descends by a third each time in this sequence. Play ⓘ
Descending 5-6 sequence
Descending 5-6 sequence with every other chord in first inversion. Notice the continuous bass line in the lower staff. Play ⓘ
Descending 5-6 root position variant
The root position variant of the descending 5-6 sequence used in Pachelbel's Canon . The last two chords are not part of the sequence, but constitute a cadence. Play ⓘ
Image of the ascending 5-6 sequence in music
Sequence in J.S. Bach's Fugue in G major BWV 860, mm. 17-19, also considered a bridge . [ citation needed ] Play ⓘ