# I would like help analysing this circle of fifths progression



## Vivaldi (Aug 26, 2012)

Here is what I believe is a fifth progression taken from the first movement of RV208a. I need your assistance deciphering the figured bass line. I'm aware they are chords but what chords exactly. If you could write them out like CEG for example then I will understand. Also comment on anything else significant.

I make this thread because this is probably the most the beautiful progression I have heard. I aspire to compose a piece with a progression like this in it so more importantly, can the chords in this progression change and if they do will it still assume a fifth progression. In other words is this the only manifestation of this particular progression possible in terms of harmony without having to transpose to another key.

I need a good in depth explanation from some kind soul

Thank you!
View attachment vivaldis.pdf


Go to 2:45 in video


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## Vivaldi (Aug 26, 2012)

bump bump bump bump bump bump bump bump bump


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## Vivaldi (Aug 26, 2012)

Can anyone please answer my thread? 

Thank you!


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## Petwhac (Jun 9, 2010)

Not clear about what you're actually asking.
It's a very common progression but the score shows an F natural when they are playing F-sharp (??!)
Anyway a simplified harmony would read.

E-G-B ( E minor)
G-E B ( E minor in 1st inversion - hence the 6 in the figured bass)
C-E -B ( C major 7)
C-E-A ( A minor in 1st inversion)
B-D-A ( G major 1st inversion but with the a as a 9-8 suspension)
B-D-G ( G major 1st inversion with suspension resolved
A-C-G ( A minor 7)
A-C F# ( functions as a D chord in 2nd inversion)
G-B-F# ( G maj 7 or E minor 1st inversion with 9-8 sue)
G-B-E ( E minor)
F#-A#-C#

Is that what you were looking for?


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## Vivaldi (Aug 26, 2012)

Petwhac said:


> Not clear about what you're actually asking.
> It's a very common progression but the score shows an F natural when they are playing F-sharp (??!)
> Anyway a simplified harmony would read.
> 
> ...


Yes thank you. Is this a circle of fifths? Why does the 6 in figured bass signify a 1st inversion? Why go from E minor then to F# -A#-C#? I don't see the link here?


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## Petwhac (Jun 9, 2010)

Vivaldi said:


> Yes thank you. Is this a circle of fifths? Why does the 6 in figured bass signify a 1st inversion? Why go from E minor then to F# -A#-C#? I don't see the link here?


I wouldn't call it a circle of fifths although it could be made into one with more or less the same result. That is if you take 'result' to mean taking you to the same destination. It would _sound_ different but get you where you wanted to go.

The 6 in the bass denotes a 1st inversion because in figured bass you count up from the bass in steps of the scale.

So, in E minor:
G in the bass is 1, A is two , B is three, C is four, D is 5 and E is 6. If the keyboard player sees a G in the bass with no number s/he'll playa G major triad. The 6 is short for 6/3, 3 being..the B. A 6/3 chord is a first inversion. A 6/4 chord is a second inversion and therefore if the G had 6 with a 4 below it the keyboardist would play a G- C (4) -E (6) which is C major in second inversion.

The piece goes to the F# triad as a preparation to landing in B major. F# being the dominant (5th) of B. B of course being the dominant of E. The dominant tonic relationship is the most fundamental one in tonal music and in Baroque and Classical periods a key wasn't established it if wasn't preceded by it's dominant.


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