chord progressions – How assassinate you outline Harmonic Retrogression with narrative to depth? retort

I second @Richard’s remark that it is a downhearted definition. Here is a few proof from different textbooks than AP Barron’s.

In Steven G. Laitz’s The Complete Musician (which makes use of the “phrase model” talked about by @Richard), retrogression is outlined as follows:

a backward movement [such as] from D to PD [dominant to predominant] known as a retrogression.¹

This is used to insert the conception of advocate-relating dominants, by which a predominant chord serves to increase the previous tonic concord however doesn’t itself unravel to the tonic. The occasion given is from Bach’s Prelude in Eb Major from The Well-Tempered Clavier, bespeak 2 (BWV 876), excerpted right here:

X: 1
T: Prelude in Eb Major, BWV 876
T: from The Well-Tempered Clavier, bespeak II
C: Bach
M: 9/8
Ok: Eb
L: 1/8
%%amass (V1 V2) | V3
[V:V1 stem=up] B3 z3 z Ge | {e}d3 z3 z FG | ACE
[V:V2 stem=down] G3 z3 z G2 | F3 z3 y3 | y3
[V:V3 clef=bass] z ED EB,G, E, zz | z B,=A,  B,F,D, B,, zz | F,zz
w: I | V7 | ii7
w: Tonic | BRD | PD

Aldwell and Schachter, in Harmony and Voice Leading, devotes a short part to advocate-relating dominants, however nowhere makes use of the time period “retrogression.”² The Oxford Companion to Music and The Norton/Grove Concise Encyclopedia of Music too assassinate not maintain entries for “retrogression.”

¹ _{Steven G. Laitz, The Complete Musician, 2nd ed. (2008, Oxford University Press), pages 452-53.}

² _{Edward Aldwell and Carl Schachter, Harmony and Voice Leading, 2nd ed. (1989, Harcourt yoke Jovanovich), pages 146-47.}