Omnibus progression

The omnibus progression in music is a chord progression characterized by chromatic lines moving in opposite directions.[1] The progression has its origins in the various Baroque harmonizations of the descending chromatic fourth in the bass ostinato pattern of passacaglia, known as the "lament bass".[2] However, in its fullest form the omnibus progression involves a descent in the bass which traverses a whole octave and includes every note of the chromatic scale. It may also include one or more chromatic ascending tetrachords in the soprano, tenor and alto.


    {
      \override Score.SpacingSpanner.strict-note-spacing = ##t
  \set Score.proportionalNotationDuration = #(ly:make-moment 1/4)
      \override Score.TimeSignature #'stencil = ##f
      \new PianoStaff <<
        \new Staff <<
            \new Voice \relative c' {
                \set Score.tempoHideNote = ##t \tempo 2 = 80
                \stemUp \clef treble \key c \major \time 14/2
                f2 fis! g gis gis! gis! aes! aes! aes! aes! a! bes! b!1
                }
            \new Voice \relative c' {
                \stemDown
                d2 d d d dis! e f! f f f f f f1
                }
            >>
        \new Staff <<
            \new Voice \relative c' {
                \stemUp \clef bass \key c \major \time 14/2
                b2 b b b b b ces! c! des! d! d d d1
                }
            \new Voice \relative c' {
                \stemDown
                g2_\markup { \translate #'(-1 . 0) { \concat { "(G" \raise #1 \small "7" \hspace #2 "Bm" \combine \raise #1 \small 6 \lower #1 \small 4 \hspace #2 "G" \combine \raise #1 \small 4 \lower #1 \small 2 ")" \hspace #2 "(E" \raise #1 \small "7" \hspace #1.5 "G♯m" \combine \raise #1 \small 6 \lower #1 \small 4 \hspace #1.5 "E" \combine \raise #1 \small 4 \lower #1 \small 2 ")" \hspace #2 "(D♭" \raise #1 \small "7" \hspace #1 "Fm" \combine \raise #1 \small 6 \lower #1 \small 4 \hspace #2 "D♭" \combine \raise #1 \small 4 \lower #1 \small 2 ")" \hspace #1.5 "(B♭" \raise #1 \small "7" \hspace #1 "Dm" \combine \raise #1 \small 6 \lower #1 \small 4 \hspace #2 "B♭" \combine \raise #1 \small 4 \lower #1 \small 2 ")" \hspace #2.5 "G" \raise #1 \small "7" } } }
                fis! f! e dis! d! des! c ces! bes! a aes! g1 \bar "||"
                }
            >>
    >> }

They are also known as "chromatic wedge progressions", in reference to their wedge-like appearance in score.[3] 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 all of the notes in the chromatic scale.

  1. ^ Yellin, Victor Fell. The Omnibus Idea. Warren, Michigan: Harmonie Park Press, 1998.
  2. ^ Telesco, Paula. "Enharmonicism and the Omnibus Progression in Classical-Era Music." Music Theory Spectrum, vol. 20, no. 2. (Autumn 1998), pp. 242–279.
  3. ^ Gauldin, Robert. "The Theory and Practice of Chromatic Wedge Progressions in Romantic Music." Music Theory Spectrum, vol. 26, no. 1. (Spring 2004), pp. 1–22.