Circle of Fifths Progression
The circle of fifths progression (I–IV–vii∘–iii–vi–ii–V–I) was a stalwart of the Baroque era in music. You will find many examples of this progression in the music of Bach, Handel, and Vivaldi, especially in minor (i–iv–VII–III–VI–ii∘–V–i) with the subtonic VIIVII.
This circle (the circle of fifths for harmonic progression) is different than the circle of fifths for key signatures because this circle of fifths for harmonic progression contains diatonic notes only. The circle of fifths for key signatures contained all 12 notes of the chromatic scale.
HARMONIC SEQUENCE
The circle of fifths progression has a feeling of inevitability about it because it consists of harmonic sequences. To understand harmonic sequence we will first look at melodic sequences, since the bass line is the “melody” in a harmonic sequence. Ask yourself what happens after this melodic idea in Beethoven, Symphony No. 5:
Therefore, a sequence is a musical idea repeated at a different pitch level. Sequences can be short or long. For example, look at this familiar idea and notice how all four bars are sequenced down a step in the following four bars from Mozart, Symphony No. 40.
Now look again at the bass line in “Love You Like A Love Song” and notice how it can be thought of a two-note idea treated as a descending sequence.