Part III

Root Movement Summary

     I - (iii) - vi - IV - ii -  V/V -  V - I
                  |_______________________ -(vi)

The above chord progression summarizes strong root movements based on what we have covered so far. This model will be expanded in Grade 4 Harmony.

The chord progession should be thought of as including inversions and 7th chords. V, for example, refers to all dominant type chords including: V7, its inversions, vii6, and the cadential six-four chord.

You can create strong chord progressions using the model as long as you choose chords in order from left to right, and use some version of V before moving to I. You can omit any chord except for the final V chord. Stated another way, most chord progressions in music start on I and move towards V before coming to rest on I again.

For, example, I - vi - ii7 V6 - I is a strong chord progression, while I - ii -vi - V7 is not that strong, ii - vi being the weak link, identified in the model as so by having to move right to left.

The exception to the model is IV-I, a plagal cadence, which is acceptable.

V can also move to vi, here thought as a substitute for I in a deceptive or false cadence. In the repertoire, the music tends to continue on after a deceptive cadence to a final perfect authentic cadence. In our model, if vi is used in a deceptive cadence, we return back to the previous vi chord, and continue until a final V-I is reached.

For example: I - V/V - V - vi - ii7 - V7 - I

The iii chord is shown in parantheses, and should be used sparingly. If your tempted to use iii, try I6 instead to see if it works better. The iii chord will be more fully explored in Grade 4 Harmony.

This ends our summary of R.C.M. Grade 3 Harmony, part-writing. We hope you have found the information useful in your studies. Your feedback is welcome. Please check back often for updates and additions