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435:. Example 2 (above) is effectively a prolongation of the dominant seventh chord G which utilises chromatic voice movement. The bass voice descends chromatically while the upper voice ascends chromatically, and the inner voices remain stationary on the notes of D and F. Eventually the chromatic movement results in a new inversion of the dominant seventh chord G, resolving to the tonic chord C.
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They are also known as "chromatic wedge progressions", in reference to their wedge-like appearance in score. The origin of the term "omnibus" (Latin: "for all") to describe such a sequence is unclear, but it is of note that the chord progression encompasses
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Modern theorists such as
Telesco explain how small sections of omnibus progression (signified in example 1 by brackets around groups of chords) can be viewed as an instance of dominant
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characterized by chromatic lines moving in opposite directions. The progression has its origins in the various
Baroque harmonizations of the descending
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The following example is in C major. The lowest part is a "lament bass" that descends from the
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John A. Rice, "The Morte: A Galant Schema as Emblem of Lament and
Compositional Building-Block
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Telesco, Paula. "Enharmonicism and the
Omnibus Progression in Classical-Era Music."
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36:". However, in its fullest form the omnibus progression involves a descent in the
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482:. "The Theory and Practice of Chromatic Wedge Progressions in Romantic Music."
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using chromatic passing tones before returning at the end up to the tonic in a
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A more extended treatment of this version of the omnibus could be:
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508:. 6th edition. New York: McGraw-Hill, 2009. (pp. 476–480)
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Examples of the
Omnibus, compiled by Prof. Timothy Cutler
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134:' refers to a C minor triad in second inversion, and G
48:. It may also include one or more chromatic ascending
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455:. Warren, Michigan: Harmonie Park Press, 1998.
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470:, vol. 20, no. 2. (Autumn 1998), pp. 242–279.
147:is a G dominant seventh in third inversion.
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904:List of chord progressions
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857:Montgomery-Ward bridge
837:Royal road progression
732:Montgomery-Ward bridge
802:Borrowed (contrafact)
513:The Complete Musician
504:, and Dorothy Payne.
485:Music Theory Spectrum
467:Music Theory Spectrum
451:Yellin, Victor Fell.
423:Dominant prolongation
893:Irregular resolution
671:Backdoor progression
407:For the purposes of
89:of the notes in the
18:omnibus progression
923:Chord progressions
827:Passamezzo moderno
787:Andalusian cadence
717:Andalusian cadence
696:Passamezzo moderno
596:Constant structure
567:Chord progressions
121:. For example, 'Cm
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887:Pachelbel's Canon
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691:Sixteen-bar blues
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651:ii–V–I turnaround
511:Laitz, Steven G.
431:achieved through
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409:composition
50:tetrachords
34:lament bass
30:passacaglia
619:Turnaround
439:References
413:modulation
757:Romanesca
742:I–V–vi–IV
727:vi–ii–V–I
630:of chords
628:By number
606:Notation
115:inversion
917:Category
878:Chaconne
792:Backdoor
663:♭
646:I–IV–V–I
379:♭
356:♭
336:♯
313:♯
277:♯
219:♭
196:♭
107:dominant
866:Related
832:Ragtime
817:Omnibus
775:By name
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591:Changes
586:Cadence
105:to the
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52:in the
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581:Bridge
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705:Four
62:alto
60:and
38:bass
16:The
782:50s
417:key
117:in
87:all
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178:G
175:C
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