So far, the harmonic progressions that we've looked at have been largely I, IV, V progressions. But these aren't the only progressions you find in classical music. These are the progressions you often find when the composer's trying to state an idea, present a motive for the first time. The kinds of progressions you find in the very beginning of a piece. But when the composer wants to do a transition, or wants to develop an idea, you often find them Developing this or transitioning into a new section through the use of a sequential progression. And over the next couple of videos, we'll look at three different kinds of sequential progressions that composers use all the time. The interesting thing about sequential progressions is that they allow the composer to work with patterns. And so we looked last week at applying a pattern to a harmonic progression to get a keyboard accompaniment. And we'll see an elaboration of this idea in the use of sequential progressions. So let's get started in this video with the circle of fifths progression. Now the circle of fifths progression is probably one of the most famous sequential progressions there is. We don't find it, of course, just in classical music. We find it in every kind of tonal harmony. Let's go back to this chart that I presented in the first week. It's kind of this strange chart of showing harmonic progressions. And we talked actually, about how largely what you find as composers work in this region. We have the I, the IV, the V or the ii to V. Or you know, the sub-dominant to dominant. Going back to the tonic. And sometimes we see the vi used, which will then go to ii to V to I. We really haven't talked about any of these. And now when we talk about sequential progressions, we'll introduce these. So what happens? Well, what we actually see here, if we go from all the way left to all the way right, is that we can actually see a circle of fifths progression. We start on I, and then the next thing we have is the IV chord. We go down a fifth. Hence the name, circle of fifths. We go down a fifth. To the IV chord. We go down a fifth again to the, to the viio. Down another fifth to the iii chord, another fifth to the vi chord. The sixth chord in this progression is the ii chord, that's down a fifth from the vi chord. Down a fifth from ii is of course the V chord, which brings us back to I. So, what I want to do is show in music how this chord progression is voice led. There isn't a single approach to voice-leading for this, but I do want to show you that the voice leading itself is actually patternistic. That the circle fifths lends itself to patterns. And we see the patterns first arise in the voice leading. Well now lets do a four voice circle of fifths progression using keyboard voicing. One in the bass, three in the right hand. And we're going to do the complete circle of fifth. So we're going to start on I, and then go to IV, viio, iii, vi, on and on and on. As you just saw in the chart. And as I mentioned earlier, there is a pattern to even the voice leading. And the pattern for this voice leading. It doesn't have to be this pattern, but I want to show you a pattern in the voice leading. The pattern here is going to be the common tone approach, and then the non-common tone approach. So what do I mean, actually? [SOUND] Let me switch that up an octave. First common tone approach. Because these are all chords that are for the part, right? So we have a common tone approach and a non-common tone, tone approach. So, the first one we'll do is the common tone approach. Our common tone, we're going to the F. Yeah? [SOUND] That F. Our common tone approach tells us that we need to find the common tone, which is the C here. And then we need to move the other voices by step. So the G goes to A, and the E goes to F. Let's put that in here. Oops. [SOUND] Like that. That's common tone, then the bass will go up. [SOUND] Rather than down. It will go up. Here it's a, it's a augmented fourth. And we'll do the non-common tone approach. So all, since this is going up, all of these are going to leap or step down in the opposite direction to the next chord tone. So that gives us the F, this goes to an F, this goes to the B because we're doing a B diminished chord. And this F is the common tone but we're not going to keep it. We're going to go down to the D. [SOUND] Like that. And then we just continue this sequentially. Now, I'm going to cheat, sorry. I'm going to cheat, because this is, this is a pattern, right. And what we're going to find is basically. [SOUND] We can just do this. You see what I just did? I copied and pasted this and moved it down by a step. So that we get the iii chord going to the vi chord, and we should be able to do the same thing right here. [SOUND] II chord going to the V chord. And then we end up. [SOUND] Whoops. [SOUND] At I. So just to, to review, you see that there's there's a pattern here. Keep the common, we have the common tone approach, non-common tone approach. Bass goes down, bass goes up. Bass goes down, bass goes up, just like this. And each of these voices has a pattern. Same, down by step. Same, down by step. Same, down by step. Same. Up by step, down by third. Up by step, down by third. Up by step, down by third. Up by step. Up by step, down by third. Up by step, down you see, you see. You don't need me to, to, to sing it for you there. Now, let's take a listen to this circle if it's progression so you can hear this. [SOUND] In a future video, of course, we will elaborate on this in many different ways. But I just wanted to show the outlying structure of it harmonically and in terms of voice leading. Let's move on now though to a different sequential progression, the descending 6-5 progression. That'll be the second sequential progression we'll look at and we'll end with looking at the parallel sixth progression. And then we'll come back to all of them and start elaborating on them.