Descending Chromatic Bass Lines

Section 21.7 Descending Chromatic Bass Lines

A common musical pattern is the descending chromatic bass line (

\hat{1}

–

\hat{7}

–♭

\hat{7}

–

\hat{6}

–♭

\hat{6}

–

\hat{5}

). Composers harmonize descending chromatic bass lines with all manner of harmonies, including secondary chords, borrowed chords, augmented sixth chords, and rarely-used diatonic chords. Below are some examples from the past four centuries.

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Figure 21.7.1. Henry Purcell, Dido and Aeneas, Z. 636, “When I am laid in earth” (Dido’s Lament) (1688)

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Figure 21.7.2. J.S. Bach, Mass in B minor, BWV 232, Crucifixus (1733)

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Figure 21.7.3. Beethoven, 32 Variations in C minor, WoO 80 (1806)

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Figure 21.7.4. George Harrison, “While My Guitar Gently Weeps” (1968)

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Figure 21.7.5. Jimmy Page and Robert Plant, “Stairway to Heaven” (1971)

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Figure 21.7.6. Steven Tyler, “Dream On” (1973)

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Figure 21.7.7. Robert DeLeo and Scott Weiland, “Interstate Love Song” (1994)

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Figure 21.7.8. Christina Perri, “Jar of Hearts” (2010)

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Below is a table comparing the harmonizations of these descending bass lines.

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Table 21.7.9.

Bass Line	$\hat{1}$	$\hat{7}$	♭ $\hat{7}$	$\hat{6}$	♭ $\hat{6}$	$\hat{5}$
Purcell	$i$	$V^{6}$	$V_{2}^{4} / iv$	${IV}^{6}$	${iv}^{6}$	$V$
Bach	$i$ – ${vii}^{\circ}_{3}^{4} / V$	$V^{6}$	${vii}^{7}$ – ${vii}^{\circ}_{3}^{4} / iv$	${IV}^{6}$	${iv}^{6}$ – ${Fr}^{+ 6}$	$i_{4}^{6}$ – $V^{6}$
Beethoven	$i$	$V^{6}$	$V_{2}^{4} / iv$	${IV}^{6}$	${Ger}^{+ 6}$	$i_{4}^{6}$
Beatles	$i$		$i_{2}^{4}$	${IV}_{5}^{6}$	$VI$
Led Zeppellin	$i$	$III$ $^{+ M}$ $_{3}^{4}$	$i_{2}^{4}$	${IV}^{6}$	${VI}^{M 7}$
Aerosmith	$i$		$i_{2}^{4}$	♯ ${vi}^{ø}^{7}$	${VI}^{M 7}$
S.T.P.	$i$	$V^{6}$	$V_{2}^{4} / iv$	♯ ${vi}^{ø}^{7}$	( $VI$ )
Perri	$i$	$V^{6}$	$i_{2}^{4}$	${IV}^{6}$

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For the harmonization of scale degree

\hat{6}

, remember that the concept of ♯

{vi}^{\circ}

was introduced when Roman numerals in minor were introduced. The notes of the ♯

{vi}^{ø}^{7}

chord belong to the melodic minor scale.

Music Theory for the 21st-Century Classroom

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Section 21.7 Descending Chromatic Bass Lines