Complete harmonic playthrough · 35 bars · C major · 4/4
Duple grouping: ONE–two | THREE–four. Four quarter-note beats per bar, with each beat dividing into two.
Play each row for one bar as a chord first, then try a broken-chord pattern. These are harmonic reductions, not a note-for-note transcription of Bach’s arpeggios. The final bars include internal movement summarized here.
Notes are bass-first: play the first note with your left hand and distribute the others comfortably above it. Slash chords specify the bass: C/E means C harmony over E. Octaves and spacing may be adjusted. In diminished chords, enharmonic spellings are simplified for keyboard reading.
| Bar | Chord | Bass-first notes | Function / movement device |
|---|---|---|---|
| 1 · Home, away, return | |||
| 1 | C | C–E–G | Tonic · I · HomeBroken chord |
| 2 | Dm7/C | C–D–F–A | Predominant · ii7 · AwayCommon bass / predominant |
| 3 | G7/B | B–D–F–G | Dominant · V7 · TensionInversion / dominant seventh |
| 4 | C | C–E–G | Tonic · I · HomeCadence / resolution |
| 2 · Point toward G | |||
| 5 | Am/C | C–E–A | Tonic-family color · viCommon-tone color |
| 6 | D7/C | C–D–F♯–A | Secondary dominant · V7/V · Toward GSecondary dominant |
| 7 | G/B | B–D–G | Dominant in C · local tonic in GLocal resolution |
| 8 | Cmaj7/B | B–C–E–G | Tonic harmony over B · unsettledHeld bass / dissonance |
| 9 | Am7 | A–C–E–G | Predominant in G · ii7/GDescending bass / preparation |
| 10 | D7 | D–A–C–F♯ | Secondary dominant · V7/VSecondary dominant |
| 11 | G | G–B–D | Dominant in C · local tonic in GLocal cadence |
| 3 · Diminished paths home | |||
| 12 | Gdim7 | G–B♭–D♭–E | Applied leading-tone seventh · toward iiApplied diminished seventh |
| 13 | Dm/F | F–A–D | Predominant · ii · AwayDiminished resolution / inversion |
| 14 | Fdim7 | F–A♭–B–D | Leading-tone seventh · vii°7 · TensionLeading-tone diminished seventh |
| 15 | C/E | E–G–C | Tonic · I · HomeResolution / inversion |
| 16 | Fmaj7/E | E–F–A–C | Subdominant color · IVmaj7 over EHeld bass / seventh color |
| 17 | Dm7 | D–F–A–C | Predominant · ii7 · AwayPredominant / descending bass |
| 18 | G7 | G–B–D–F | Dominant · V7 · TensionDominant seventh |
| 19 | C | C–E–G | Tonic · I · HomeCadence / home |
| 4 · Chromatic approaches | |||
| 20 | C7 | C–E–G–B♭ | Secondary dominant · V7/IV · Toward FSecondary dominant / lowered seventh |
| 21 | Fmaj7 | F–A–C–E | Subdominant · IVmaj7 · AwayLocal arrival / seventh color |
| 22 | F♯dim7 | F♯–A–C–E♭ | Applied leading-tone seventh · vii°7/VChromatic diminished approach |
| 23 | A♭dim7 | A♭–B–D–F | Chromatic diminished approach to VChromatic approach / delayed arrival |
| 24 | G7 | G–B–D–F | Dominant · V7 · TensionSemitone bass resolution |
| 5 · Held bass and suspensions | |||
| 25 | C/G | G–C–E–G | Cadential tonic 6–4 over dominant bassDominant pedal / cadential 6–4 |
| 26 | G7sus4 | G–C–D–F | Dominant with suspended fourthSuspension / delayed resolution |
| 27 | G7 | G–B–D–F | Dominant · V7 · TensionSuspension resolution |
| 28 | Adim7/G | G–A–C–E♭–F♯ | Diminished tension over dominant pedalDiminished color over pedal |
| 29 | C/G | G–C–E–G | Cadential tonic 6–4 over dominant bassPedal / release of chromatic tension |
| 30 | G7sus4 | G–C–D–F | Dominant with suspended fourthRepeated suspension |
| 31 | G7 | G–B–D–F | Dominant · V7 · TensionSuspension resolution / dominant |
| 6 · Final home landing | |||
| 32 | C7 | C–E–G–B♭ | Secondary dominant · V7/IV over tonic bassTonic pedal / secondary dominant |
| 33 | F/C | C–F–A | Subdominant · IV over tonic pedalSubdominant over tonic pedal |
| 34 | G7/C | C–G–B–D–F | Dominant · V7 over tonic pedalDominant over tonic pedal |
| 35 | C | C–E–G | Tonic · I · Final homeFinal tonic / closure |