Carl Dahlhaus lists the characteristic schemata of tonal harmony, "typified in the compositional formulas of the 16th and early 17th centuries," as the "complete cadence" I–ii–V–I, I–IV–V–I, I–IV–I–V–I; the circle of fifths progression I–IV–vii°–iii–vi–ii–V–I; and the major–minor parallelism: minor v–i–VII–III equals major iii–vi–V–I; or minor III–VII–i–v equals major I–V–vi–iii. The last of these progressions is characterized by "retrograde" harmonic motion.
