Essay Title: Pachelbel's "Canon in D": A study of its influence on

anglophone pop music harmony

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Research question: To what extent can Pachelbel’s "Canon in D" be

attributed the title of the creator of anglophone pop music harmony?

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Subject: Music

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Word Count:3919
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TABLE OF CONTENTS
1. Introduction………………………………………………………………………………..2

2. Canon in D Analysis

1. Overview.………….…………….…...3

2. Looped Chord Progression.………….…………….…..4

3. Specific 8 Chord Progression.………….…………….…..5

4. Practically Constant Intervals between Chords/Harmonic Distance

.………….…………….…..6

5. Perfect Cadence.………….…………….….. 6

6. Voice Leading Ostinato.………….…………….…..7

3. Case Studies

1. Maroon 5–Memories………….…………….….. 7

2. Aerosmith–Cryin’.………….…………….…..11

3. Elvis Presley–Can’t Help Falling in Love With You.………….…………….….. 18

4. Evaluation

1. Looped Chord Progression.………….…………….…..23

2. Specific 8 Chord Progression.………….…………….…..25

3. Practically Constant Intervals between Chords/Harmonic

Distance.………….…………….…..28

4. Perfect Cadence.………….…………….….. 29

5. Voice Leading Ostinato.………….…………….…..30

5. Conclusion…………………………………………………………………………………..……….32

6. Works Cited, Discography, and Scores…………………….33–90

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1. INTRODUCTION
Throughout this essay, the two areas of inquiry are going to be Pachelbel’s "Canon in D"
and anglophone pop music harmony.

Johann Pachelbel was a German musical composer of the Baroque period, known for his
6-minute piece composed sometime between 1680 and 1690, "Canon in D". It was first recorded
in the late 1940s, but only gained popularity decades later following Jean Francois Paillard’s
recording in the 1970s. To this day, it remains a well known piece in the United States and
Europe, especially in ceremonial events such as weddings, with some such as the New York
Times claiming it has become “the Wedding Song” (“How "Canon in D Major’ Became the
Wedding Song, 2021). Most importantly however, some such as Peter Waterman, composer of
several 1980s to 1990s hit songs such as “Never Gonna Give You Up” considers that the Canon
is “almost the godfather of pop music”(Bennett, 2022)

Pop music is “music appealing to the popular taste, including rock and pop and also soul,
reggae, rap, and dance music”(“Pop music.” Oxford Learner’s Dictionaries. Oxford University
Press, n.d). In order to determine whether a song appeals to “popular taste” number of sales,
online streams or radio airplay represented in billboard charts such as the Billboard Hot 100 are
useful. According to this definition, pop music, “was created in the 1950's” (Chris E., n.d).

Pop music is notorious for its focus on harmony, specifically using chord progressions as
the basis of a composition.

Harmony refers to two or more complementary notes played or sung at the same time
(Clark, 2023). Throughout the years, pop music and its harmony been criticized for becoming
increasingly stagnant, especially through critics of the genre’s chord progressions, with some
such as Wilkinson from Medium stating that “Chords are still the same…after
decades”(Wilkinson).

The intention of this essay is not to criticize this stagnation, but rather to discover its
origin. In other words, where do these overused chords come from.

Though Pachelbel’s "Canon in D" appears to be unrelated to this topic, through my

research I have found there actually is a strong link between them to the point where I asked
myself if Pachelbel’s "Canon in D" can be attributed the title of creator of pop music harmony.
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What I mean by this is, have pop composers been significantly influenced or copied
"Canon in D"’s harmony, or are there other pieces preceding or subsequent to the piece that had a
similar or greater impact.

In order to respond to this question, I will firstly analyze "Canon in D"’s harmony.
Secondly, I will examine various pop songs from different eras in order to determine their
harmonic resemblance to Pachelbel’s Canon. Lastly, I will use this information along with
historic background knowledge to give my verdict.

SIDE NOTE: Throughout the essay, I will focus on analyzing pop music from anglophone
countries, primarily the USA, as this is where pop music was initially conceived. Additionally,
discussing pop music from around the world in detail would be overly broad and
time-consuming, given the genre's vast and diverse evolution across different cultures and
regions.

2. "CANON IN D" ANALYSIS

Overview

In order to determine the harmony of the piece, it is necessary to observe the notes played
simultaneously by the instruments throughout the piece:three violins, violoncello and
harpsichord.

The harmonic characteristics of the piece are the following:

1. Looped Chord Progression

2. Specific 8 Chord Progression
3. Practically Constant Intervals between Chords/Harmonic Distance
4. Perfect Cadence
5. Voice Leading Ostinato
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1. Looped Chord Progression

The piece commences with half notes played by a harpsichord in unison with a
violoncello (Figure 1).

Figure 1: Pachelbel’s "Canon in D" bars 1–4

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022

The violin then enters, playing notes from the chords established by the viola,
harpsichord, and violoncello (Figures 2 and 3).

Figure 2 : Pachelbel’s "Canon in D" Progression bars 1–4

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022

Throughout the rest of the piece, the violin's part become increasingly more complex

Figure 3: Pachelbel’s "Canon in D" violin, part bars 1–8

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022
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The violin’s parts evolve throughout the piece through the use of augmentation and
embellishments: faster rhythms and passing notes rather than only notes part of the triads (Figure
4)

Figure 4: Pachelbel’s "Canon in D" violin, part bars 69–72

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022

However, the cellos’ and harpsichord’s parts, remain identical throughout the piece, this
is referred to as basso continuo, a technique which I will go into more detail later on in the essay.

2. Specific 8 Chord Progression

Based on the harmony developed through the violin, viola, harpsichord, and violoncello,
a chord progressions can be established. Chord progressions can be written through letters, as
previously done, or through Roman Numerals (Figure 5):

D→I
A→V
B min→vi
F# min→ iii
G→IV
D→I
G→IV
A→V
Figure 5: “Canon in D”’s Progression

Chord progressions in Roman Numerals can be especially helpful for understanding the
harmonic structure of a song, as will be seen in the following section. In this case, the chord
progression includes 8 chords whose harmonic rhythm consists of playing each chord during two
beats.
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3. Practically Constant Intervals between Chords/Harmonic Distance

There is a practically constant or repeating harmonic distance of change(Figure 6)

Figure 6: “Canon in D"’s Progression Harmonic Distance Change

4. Perfect Cadence
The only chord that breaks the descending perfect fourth pattern between each chord
occurs in the last chord, creating a perfect cadence with the first chord(V to I)(Figure 7).

Figure 7: “Canon in D”’s Perfect Cadence

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5. Voice Leading Ostinato

"Canon in D" includes an eight-measure melodic line that is repeated throughout the
piece by the violin and helps to further develop the harmony. This line is considered
voice-leading, as it establishes the harmony of the piece through the use of thirds and fifths and
does so through economic melodic motion (maintaining small intervals between notes).
Additionally, the melody is considered an ostinato as it is repeated at various times throughout
the piece. The ostinato consists of a diatonic descent followed by a diatonic two-note ascent
(Figure 8).

Figure 8: Pachelbel’s "Canon in D" violin, part bars 1–8

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022

3. CASE STUDIES

MAROON 5–Memories

"Memories" by Maroon 5 is a single that charted at number 1 hit single on the Billboard
Adult Contemporary chart for 32 weeks in a row following its release in 2020. The song is in B
major and consists of a keyboard accompanying a singer.

1. Looped Chord Progression

The song begins with 4 measures of solo piano (Figure 9):

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Much like in "Canon in D", “Memories”’ first 4 measures contain 8 chords. Furthermore,
said chords are repeated throughout the entirety of the song with no variations whatsoever,
similar to the lower-range instruments in "Canon in D".

2. Specific 8 Chord Progression

The relationship between "Memories"’ and "Canon in D"’s chords is further apparent
when writing the progression in Roman Numerals (Figures 10 and 11):
"Memories" "Canon in D"
B→I
F→V
G# min→vi
D# min→ iii
E→IV
B→I
E→IV
F#→V

Figure 10: “"Memories"” chord progression Figure 11: “Canon in D” chord progression

Given that "Memories" is in a different key than "Canon in D", by rewriting "Memories"’
chord progression in Roman numerals it is possible to identify that they actually have the same
functional relationship between chords in the progression. In other words, both pieces have a
parallel progression, also known as parallel harmony.

3. Practically Constant Harmonic Distance/Harmonic Sequence

"Memories" "Canon in D"
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4. Perfect Cadence

Due to the parallel harmony between both progressions, "Memories" like the Canon has a
Perfect Cadence (V to I) from its last to first chord (Figures 14 and 15).

"Memories" "Canon in D"

5. Voice Leading Ostinato

The upper voice of "Memories"’ keyboard part features the same step-wise descending ostinato
as the violin in "Canon in D", alternating between the third and fifths of the chord aside from the
second to last chord in the fourth measure (Figure 16).

"Memories"
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Figure 16: "Memories"’ chord progression played by keyboard in bars 1–4

Source: Brown, Avery "Memories"-Maroon 5 2020

"Canon in D"

Figure 17: Pachelbel’s "Canon in D" violin, part bars 1–8

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022

It is important to take into account that there is another factor that contributes to
"Memories" being reminiscent of "Canon in D" is the similarity between a melodic line repeated
several times throughout both songs:

Following the solo piano introduction, the lead singer begins with the ostinato of the
piece (Figure 18):
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Figure 18: Singer’s Melody in “Memories”

Source: Bennet, David 14 Songs That 'Rip Off' Classical Music, 2020

The tenor singer’s first four measures resemble the violin’s line(similar range) from the
41st to 45th measure of Pachelbel’s Canon (Figure 19):

Figure 19: Comparison between melodies of both pieces

Source: Bennet, David 14 Songs That 'Rip Off' Classical Music, 2020

As seen by transcribing "Canon in D" to the key of "Memories" (B major) the harmonic
similarities of the two melodic lines are visible.

"Cryin'"–AEROSMITH

“Cryin’” by Aerosmith is a single which peaked at number 12 on the Billboard Hot 100
following its release in 1993. It is in A major and includes guitars, vocals, drums, harmonica and
bass as its main instruments.
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1. Looped Chord Progression

"Cryin’" unlike "Canon in D", is written in binary form meaning it has two alternating
distinctive 4-measure chord progressions throughout the piece, as demonstrated in the intro
(Figure 20):

”
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Figure 20: “Cryin’” binary form

Source: Unknown, Musecore “Cryin’” based on James Kettle’s and Marcel Handler’s
arrangement

2. Specific 8 Chord Progression

The progression which presents the greatest harmonic similarities with "Canon in D" is
the B part.
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The harmonic foundation of this piece, or in other words the chord progression, is
established in two ways. Firstly, the sequence played by the two guitars(Figure 21):

Figure 21: “Cryin’” Guitar part bar 6–13

Source: Unknown, Musecore “Cryin’” based on James Kettle’s and Marcel Handler’s
arrangement

The sequence displayed above, which is repeated and transposed twice in every measure,
is an open voicing, meaning playing all the notes of a chord play but over a span larger than an
octave (Maurice, 2023), of A major.

Secondly, the half notes on the strings which play the thirds of the guitars’ chords. This
reinforces the presence of the chords as the third to the 5th and octave played by the guitar
(Figure 22).
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"Cryin'"

Figure 22: “Cryin’” Strings part bar 6–13

Source: Unknown, Musecore “Cryin’” based on James Kettle’s and Marcel Handler’s
arrangement

Due to this analysis of the guitars and the strings melodic lines, it is possible to
confidently determine the chord progression (Figure 23):

Figure 23:”Cryin’” chord progression

Source: Unknown, Musecore “Cryin’”
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When writing the chords in roman numerals, the similarity with Pachelbel’s progression
becomes apparent, all chords but one are identical (Figures 24 and 25):

"Cryin'" "Canon in D"

A→ I
E→ V
F min→ vi
C# min→ iii
D→ IV
A→ I
E →V
E→ V

3. Practically Constant Harmonic Distance

"Cryin’" "Canon in D"

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4. Perfect Cadence
The entire progression, aside from one chord, is identical (Figures 28 and 29).

"Cryin'" "Canon in D"

The harmonic structure of the strings’ 4 measure melodic line along with the rhythm is
close to identical to the violins’ in "Canon in D":

5. Voice Leading Ostinato

""Cryin'""s strings exhibit a close to identical step-wise descending ostinato to the violin
in "Canon in D", alternating between the third and fifths of the chord, except they don’t ascend in
the last measure(Figures 30 and 31).

"Cryin'"
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"Canon in D"

Figure 31: Pachelbel’s "Canon in D" violin, part bars 1–8

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022

CAN’T HELP FALLING IN LOVE WITH YOU– ELVIS PRESLEY

“Can’t Help Falling In Love With You” by Elvis Presley, released in 1961, peaked at No.
2 on the US Billboard Hot 100. It includes instruments such as piano, guitars, bass and vocals.
1. Looped Chord Progression
The song maintains the same chord progression aside from five measure in the bridge
(highlighted in red down below). In that regard, it doesn't entirely display the Canon’s basso
continuo technique (Figure 32).
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Figure 32: Figure 20: “Can’t Help Falling in Love With You” structure
Source: Wetton, Simon Elvis Presley-“Can’t Help Falling in Love With You”, 2023

2. Specific 8 Chord Progression

The verses display a chord progression consisting of two chords per measure, much like
in the Canon. Most of the chords in Elvis single are in some form of inversion, as seen below
(Figure 33):
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"Canon in D"

Figure 33: “Can’t Help Falling in Love With You” chord progression
Source: Wetton, Simon Elvis Presley-“Can’t Help Falling in Love With You”, 2023

The two chord progressions share portions of each other's progression such as the I, V,vi
in the first four measures along with the IV, I (Figure 34 and 35):.

3. Practically Constant Harmonic Distance

Unlike the Canon, the intervals between chords of the progression in Presley’s song aren’t
constant (Figures 36 and 37).
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4. Perfect Cadence

5. Voice Leading Ostinato

In Presely’s single, the ostinato appears in the song’s piano part lower and middle voices. The
Canon’s short diatonic ascent however is only present in the middle voices, as observed in the
last two measures (Figures 40 and 41).

CAN’T HELP FALLING IN LOVE WITH YOU

Figure 40:”Cryin’” Piano part bar 1–8

Source: Wetton, Simon Elvis Presley-“Can’t Help Falling in Love With You”, 2023
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Figure 40: “Can’t Help Falling in Love With You” voice leading
Source: Wetton, Simon Elvis Presley-“Can’t Help Falling in Love With You”, 2023

"Canon in D"

Figure 41: Pachelbel’s "Canon in D" violin, part bars 1–8

Source: Maaker, Andre Pachelbel - "Canon in D" - lead sheet, 2022

4. EVALUATION
Through the previous examples, I have explored how "Canon in D" is present in varying
degrees of similarity in the harmony of modern pop music. "Canon in D" displays five major
harmonic techniques:

1. Looped Chord Progression

2. Specific 8 Chord Progression
3. Practically Constant Intervals between Chords/Harmonic Distance /Harmonic
Sequence /Harmonic Sequence
4. Perfect Cadence
5. Voice Leading Ostinato
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For the rest of the essay, I will examine to what extent Pachelbel’s composition can be
considered the motive why said techniques are used in modern pop music harmony.

1. Looped Chord Progression

"Canon in D" repeats the same 8 chords throughout the piece. Prior to my research, I
found this rather surprising, as a looping chord progression appeared to me as something more
common to pop music than baroque music, as the genre seemed more complex than pop.
Nevertheless, in the Baroque period this was rather common and refer to as basso continuo.

Basso continuo was in a essence a technique and notation method to provide harmonic
“support and structure for compositions of the time”(“Basso Continuo.” M5 Music) while
allowing the chordal instruments such as the harpsichord to improvise.

The looping nature of basso continuo is present in older times, specifically medieval
music. The Organum genre for instance often featured a series of repeated drones, long sustained
notes played in the lower range of the organ(Figure 42).

Nevertheless, organum was often written in pneumatic notation, which unlike the basso
continuo didn't have a focus on harmony and didn’t specify exact pitches, leading to less precise
harmony (Figure 43):
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Figure 43: Opening bars of Léonin and Pérotin–“Viderunt Omnes” written in pneumatic
notation
Source: Tarantino, Todd, Perotin: Viderunt, 2012

Therefore, basso continuo can be considered one of the founder fathers of a notation
system that favors looping chord progressions.

Influence of the Basso continuo notation

The basso continuo technique continued into the classical era, which occurred
approximately from 1750 to 1800, but then lost its popularity as “as larger orchestras became the
norm and its function of keeping the ensemble together became less relevant and less possible”(A
Beginner’s Guide to Basso Continuo, n.d.).

Basso continuo, never really regained its popularity. Nevertheless, in the early 1900s a
technique of the same purpose emerged in jazz and blues: lead sheets.

Lead sheets are “an abbreviated form of notation featuring just the essential musical
information”(Kim, 2018), such as lyrics, melody and basic harmony.

Like basso continuo, lead sheets harmonically structure songs through a few chords in
order to allow freedom for improvisation of chordal instruments such as the piano, trumpets and
vocals.

Lead sheets continue to be significant as they are “very common in popular

music”(Howlett, 2011).
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Furthermore, the intermediary between Pachelbel’s Canon and Pop music is once again
Afro-American music: blues.

This is problematic because, as stated previously, it is uncertain whether blues artists and
their ancestors were exposed to Baroque music and its notation system.

Due to the fact that the basso continuo was a popular notation system in Baroque music,
it would be inaccurate to state Pachelbel alone contributed to the creation of lead sheets

Influence of the Basso continuo technique

As mentioned previously, the basso continuo is likely the first notation system whose
purpose was to provide a repeating harmonic structure.

However, though looping chord progressions throughout a song are common in pop
music, pop musicians also tend to change chord progressions throughout different sections of
their song. For instance, pop songwriters tend to alter their chord progressions from their verses
to choruses or verses to bridge, as exhibited in ""Cryin'"" and Can’t Help Falling in Love With
You respectively.

Furthermore, due to the fact that the basso continuo was a democratized technique in
Baroque music, it would be inaccurate to state Pachelbel alone contributed to the popularization
of looping chord progressions.

2. Specific 8 Chord Progression

As a reminder, the "Canon in D" chord progression consists of:

I, V, vi, iii, IV, I, IV, V

Though this chord progression is present in modern pop music, in many cases it is
slightly modified and or simplified.

THE FIRST FOUR MEASURES

To decided whether Pachelbel can be attributed the title of the creator of modern pop
music harmony, it is also relevant to analyze the chords of the first four measures:

I, V, vi, iii
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Interestingly, the first four chords of Canon’s progression correspond exactly to the
Romanesca chord progression, which originated in the mid 16th to early 17th century Baroque
music(Figure 44).

Figure 44: Romanesca chord progression

Source:Demeyere, Edwald, The Leaping Romanesca (The Pachelbel Pattern): The Basics, n.d)

The progression was used by keyboardists in the Baroque period in order to improvise
and form, along with other instruments such as the cello, a bass continuo. As a result, it can
conclude that Pachelbel didn’t invent the V, vi, iii progression.

However, it is possible that the Canon contributed to the creation of the 50s chord
progression, which is widely considered one of the most popular chord progression in music:
I-V-vi-IV. It can be noted that the first three chords of the 50s progression, are identical to the
Canons’. It originated in doo-wop, a subgenre of blues which “was born out of the creativity of
the African American youth who dealt with the impact of segregation during its peak in the late
1940s and 1950s” (Stremes, 2022). Rapidly, it became a common progression in hit songs,
starting from the 1950s all the way up to today with up to thousands of billboard charting pop
songs using the I-V-vi-IV progression, ranging from The Beatles’ “Let it Be” to The Police’s “So
Lonely” to Taylor Swift’s “All Too Well”.

THE LAST FOUR MEASURES

There is a variation of the 50s chord progression which resembles the last four chords of
"Canon in D" with the exemption of one chord (Figure 45):

I–vi–IV–V
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Figure 45: Connection between “Canon in D” and 50s chord progression

The 50s chord progression can be considered a simplification of the "Canon in D"
progression, as it contains the last 3 chords of the progression with an extra chord which is also
part of the progression.

Therefore, it can be stated that the 50s chord progression and its variations contains 6 out
of the 8 chords in "Canon in D"’s progression.

Nevertheless, it seems unusual that a piece from the late 1600s by a German composer
could be the source of inspiration for the chord progression of an African American genre.

Or does it?

As mentioned previously, doo-wop is part of the genre of blues. “The musical sources of
the blues included religious songs, broadly called spirituals, which were songs on Christian
themes that frequently also addressed aspects of the lives of slaves”(Brocato, 2023).

Furthermore, spirituals came from “African music and European psalms and hymns”
(“Folk and Spiritual”).

Pachelbel was an organist at various churches. During his career, he “became known as
one of southern Germany's finest organist and church composers. Today he is remembered “as a
composer of organ music; the secular keyboard works are tragically largely forgotten” (Abbott,
2021)

In that regard, religion (the presence of Christian themes and inspiration from European
psalms and hymns) is what possibly suggests "Canon in D" could be the ancestor or have had an
influence in doo-wop and its 50s chord progression.
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However, in order to confirm this hypothesis it is required to further analyze the origin of
spirituals which essentially involves understanding how the fusion between European psalms and
hymns and African music.

European psalms and hymns were brought by English protestant settlers, carrying scores
such as the Ainsworth Psalter and the Bay Psalm Book. However, "Canon in D" is not present in
said books.

Though "Canon in D" and blues have religion in common, whether enslaved people
could’ve been exposed and influenced by the piece remains extremely uncertain.

Therefore, it cannot be concluded with certainty that the 50s chord progression originates
from the "Canon in D" progression.

3. Practically Constant Intervals between Chords/Harmonic Distance

One of the most apparent characteristics of "Canon in D"’s harmony is its use of
descending perfect fourths throughout its chord progression.

It can assumed that Pachelbel didn’t invent constant harmonic distance changes between
chords, as half of the Canon’s chord progression are directly originating from the Romanesca
chord progression.

Additionally, Bach, a fellow Baroque composer, “extensively” is notorious for using

harmonic sequences in his chorales “helping to establish this technique as a fundamental aspect
of Baroque harmony” and making it a “hallmark of tonal music, influencing composers beyond
the Baroque period”(text taken by Perplexity, 2024)

Below can be seen the use of harmonic sequence in one of Bach’s pieces using
descending thirds(Figure 46)
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Figure 46: Excerpt of Bach’s Chorales 9

Source: Deciphering Guitar and Music Theory, J. S. Bach's Chorales 9: Use of Descending 3rds
Progressions, 2019

Nevertheless, it is important to note that Bach likely got influenced by Pachelbel.

Firstly, because Pachelbel was Bach’s predecessor. Secondly, because Bach was surely exposed
to Pachelbel’s music as During his career, Pachelbel “became known as one of southern
Germany's finest organist and church composer” and Bach was German and lived there his entire
life.
Lastly, Pachelbel had strong ties with the Bach family: he taught Bach’s older brother and there
is “there's speculation that it ("Canon in D") was written as a gift for the wedding of Johann
Sebastian Bach”(Levine, 2019).

4. Perfect cadence

Throughout the Canon, Pachelbel makes use of a perfect cadence in its progression by
ending with on the V and starting with on the I.

The perfect cadence is a vital part of pop music harmony, as it is present in the majority
of pop chord progressions, including the 50s chord progression (​​Joubert, 2024).

The reason why it is so prominent is that as Music theorist William Caplin stated that the
perfect authentic cadence "achieves complete harmonic and melodic closure” (Caplin, 2024).
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Cadences other than the perfect cadence, such as the plagal or amen cadence, were a key
compositional element composers from the Baroque period used. However, determining if
Baroque composers invented the perfect cadence is a challenging task.

In Gregorian chants dating from the medieval period, for instance, utilized perfect
cadences in a similar same way as later music, meaning, “employing cadential patterns that
fulfill a similar function of providing closure”(text taken from Perplexity, 2024).

However, a lack of documentation and different harmonic language and notation

throughout cultures and time periods makes it difficult to assess where the origins of the perfect
cadence are.

5. Voice Leading Ostinato

"Canon in D" displays a ostinato obtained through the voice leading of the chords that
creates a diatonic or stepwise descent, which is equally present in the pop songs evoked
throughout the essay.

The term Voice Leading is rather recent, as it was coined by Heinrich Schenker, a music
theorist who lived between the late 19th and early 20th century.

Schenker defines the term "Voice Leading" as the linear progression of individual
melodic lines and their interaction to create harmonies in Counterpoint: A Translation of
Kontrapunkt (Book 1) (Schenker).who defined the term as the linear progression of individual
melodic lines and their interaction to create harmonies (Counterpoint vol 1).

One of Schenker’s main theories was “fließender Gesang”, (melodic fluency or fluent
melody). This term describes that the preference for conjunct (stepwise) motion, is one of the
main rules of voice leading (Schenker, 2001).

Nevertheless, Schenker attributes the rule to Luigi Cherubini, an Italian classical and
romantic composer, who would have written that "fluent melody is always preferable in strict
counterpoint"(Schenker, 2001)

In that regard, not only does the concept of stepwise motion in voice leading appear to be
older than Schenker, it also seems like voice leading has its roots from counterpoint.
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Counterpoint is defined as “the technique of setting, writing, or playing a melody or

melodies in conjunction with another, according to fixed rules”(Abhigginson, 2017). These fixed
rules were established by various music theorists but, most notably by, Johann Joseph Fux in his
1725 treatise Gradus ad Parnassum(steps towards mastery) a treatise on counterpoint in the
Palestrina style of Renaissance polyphony”(Lee, 2012).

One of the “fixed rules” for counterpoint that Fux outlined in his text is the importance of
primarily moving by step to create smooth melodic lines. Thereby demonstrating that Fux’s
contrapuntal rules are closely linked to Schenker’s theories on voice, leading practically two
centuries later.

It is also of interest to note that Fux’s treatise was in the “the Palestrina style of
Renaissance polyphony” implying that Fux’s contrapuntal rules originate in 16th-century Italian
music.

As a result, considering that "Canon in D" was composed during the late 17th century, it
can determined that the diatonic descending or step-wise voice leading, which appears as an
ostinato throughout the piece, wasn’t pioneered by Pachelbel.
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5. CONCLUSION
Through my analysis, I have established that there are significant similarities between the
Baroque piece and pop music harmony. The difficulty is in measuring Pachelbel’s role in
establishing these harmonic techniques.

As highlighted throughout the essay, Pachelbel’s Canon uses harmonic techniques

popular to his era or to his predecessors: Baroque music’s basso continuo, Romanesca
progression, Gregorian chants’ cadences, Palestrina’s contrapuntal technique. However, several
similarities can also be noted in the harmonic techniques of his contemporaries: Bach’s harmonic
sequencing, the 50s chord progression, looping chord progressions.

Answering the question of to “what extent can Pachelbel’s "Canon in D" be attributed the
title of the creator of pop music harmony?” becomes yet more challenging when considering
how pop music was created: four hundred years during which transatlantic slave trade led
European musical elements to combine with African musical characteristics leading to the
creation of the diverse pop music genre we know today. The lack of detailed documentation and
the oral nature of much of this musical heritage complicates the understanding of how these two
distinct musical traditions fused over centuries of cultural exchange and forced migration.

Furthermore, as mentioned in the introduction, "Canon in D" only really became popular
in the 1970s following Jean Francois Paillard’s recording. Given that pop music was created in
the 1950s, there are therefore twenty years during which it seems virtually inconceivable that
pop musicians were exposed to Canon and therefore influenced by it. Nevertheless, from the
1970s onwards, "Canon in D"’s influence on pop music seems more plausible.

In the 1990s hit, "All Together Now” by The Farm, for instance, the chord progression
from "Canon in D" was directly used, and the band acknowledged that the song’s structure is
built around Pachelbel’s work. Additionally, in Vitamin C’s 2000 hit“ Graduation (Friends
Forever)" "Canon in D" serves as the backbone of the song and the artist and producers have
spoken about how they were inspired by the classical piece to create a contemporary anthem.

Despite the hundreds of thousands of songs that harmonically resemble "Canon in D"
whether it be in the chord progression, voice leading, cadences, looped chord progression, these
two songs are one of the rare examples of artists who explicitly acknowledge having taken
inspiration from the Canon.

In conclusion, "Canon in D" cannot be considered the sole figure in shaping pop music
harmony, as it is part of a much larger tapestry of musical influences that span across centuries
and continents.
 33

6. WORKS CITED
Abbott, Graham. “Johann Pachelbel: Beyond the Canon.” Graham’s Music, Graham’s Music, 20

Feb. 2021, www.grahamsmusic.net/post/johann-pachelbel-beyond-the-canon.

“Basso Continuo: Definition & Meaning.” M5 Music, 5 Feb. 2021,

www.m5music.hk/en/dictionary/basso-continuo/.

“A Beginner’s Guide to Basso Continuo.” Baby Loves Baroque, 24 May 2020,

babylovesbaroque.com/a-beginners-guide-to-basso-continuo/.

Bennett, David. “21 Songs That Use Pachelbel’s Canon Chord Progression.” YouTube, YouTube,

26 June 2022, www.youtube.com/watch?v=_PC6jwoHyOk&t=316s.

Brocato , Emma. “About Me.” BOOGIE WITH EMMA, 23 July 2023,

boogiewithemma.blog/about-2/.

Dunnett , Ben. “Augmentation and Diminution.” Music Theory Academy, 9 Feb. 2019,

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Caplin, William Earl. Cadence: A Study of Closure in Tonal Music. Oxford University Press,

2024.
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Clark, Philip. “What Is Harmony in Music?” Classical Music, 26 Aug. 2023,

www.classical-music.com/features/musical-terms/what-is-harmony-in-music.

E, Chris. “Pop Music in the 1950’s.” Bartleby,

www.bartleby.com/essay/Pop-Music-In-The-1950s-61959247B00F8287. Accessed 17

Aug. 2024.

Higginson, Adam. “Music Genre Analysis: The Baroque Period (1600 – 1750).” Abundant

Audio, 3 Nov. 2017,

“History of Folk Spiritual.” Timeline of African American Music,

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Howlett, Greg. “How to Play a Lead Sheet – Part 1.” Greg Howlett - Christian Concert Pianist

and Educator, 11 June 2011, greghowlett.com/blog/free-lessons/061111012.aspx.

Accessed 17 Aug. 2024.

Inverne , James. “Cherubini, Luigi.” Classical Music,

www.classical-music.com/features/composers/cherubini-luigi. Accessed 17 Aug. 2024.

Joubert, Stefan. “The 50s Chord Progression – a Progression Used in a Thousand Songs!” The

London Guitar Institute, 2 Jan. 2024,

 35

www.londonguitarinstitute.co.uk/the-50s-chord-progression-a-progression-used-in-a-thou

sand-songs/.

Kim, Jennifer. “Why Lead Sheets?” Berklee, 1 June 2018,

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Lee, David T.H. “Johann Joseph Fux Describes Baroque Counterpoint.” Johann Joseph

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historyofinformation.com/detail.php?id=2640.

Levine, Alexandra S. “How ‘canon in D Major’ Became The Wedding Song.” The New York

Times, The New York Times, 9 May 2019,

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Pop Music Noun - Definition, Pictures, Pronunciation and Usage Notes | Oxford Advanced

Learner’s Dictionary at Oxfordlearnersdictionaries.Com,

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2024.

R., Peter. “Discovering Music: The Blues.” Open Learning,

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Schenker, Heinrich, and John Rothgeb. Counterpoint: A Translation of Kontrapunkt.

 36

Maurice, Tim. “Cluster Voicing & Open Cluster Voicing.” Film Music Theory, 6 July 2023,

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About Gregorian chants

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7. DISCOGRAPHY

Aerosmith. (1993). Cryin'. Geffen Records.

Ainsworth, Henry. (1612). The Ainsworth Psalter.

Bach, Johann Sebastian. (1716). Der Tag, der ist freudenreich, BWV 605.

The Bay Psalm Book. (1640). Cambridge Press.

Léonin and Pérotin. (12th Century). Viderunt Omnes.

Maroon 5. (2019). Memories. 222/Interscope Records.

Pachelbel, Johann. (1680). Canon in D. Musical Offering.

Presley, Elvis. (1961). Can't Help Falling in Love. RCA Victor.

The Beatles. (1970). Let It Be. On Let It Be. Apple Records.

The Farm. (1990). All Together Now. [Song]. On Love See No Colour. Liverpool: The Farm

Records.

The Police. (1978). So Lonely. On Outlandos d'Amour. A&M Records.

Taylor Swift. (2012). All Too Well. On Red. Big Machine Records.

Vitamin C. (2000). Graduation (Friends Forever). [Song]. On Vitamin C. New York: Elektra

Records.
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8. SCORES
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