melodic aspect of tonal harmonic sequences, while very useful for the
purposes of identification, is only partially indicative of their tonal
nature when we procede with a detailed analysis. "Tonal nature"
means belonging to a hierarchy, having a specific orientation or tonal
affiliation, manifesting a connection to a well-established anchor
point. The same sequential material, however, may often be associated
different tonalities, for example:
This is why a sequence usually ends with a cadential formula which establishes the key:
is one exception: the type 1 sequence, since it already takes the place
descending circle of fifths, often omits the closing formula and, in
such cases, finds its anchor point automatically established by the
conclusion of the progression which coincides with the arrival of
either the function I or the function V:
Example 417: G.F. Handel : Suite no 7, Passacaglia (mm 9-16)
Type 1 sequence
In a general way, this brings us to the subject of the tripartite structure of the harmonic sequence.