Ear Training - Root Movement in Chord Progressions

Analysis

When analyzing a harmonic progression, start by listening to the root movement, i.e. the bass note. This will help you greatly in predicting the progression. Remember, there are strict rules about which chords can go to which.

Piano Practice Excerpt 1

• Bass movement do, re, mi: first-time learners are often tempted to analyze this root movement as a predictor for I-ii-iii. But this progression is not possible: while chord I can definitely go to chord ii, ii cannot go to iii.

I-V^6/4-I⁶ is a logical choice, because the second inversion dominant triad (known as “the passing 6/4”) leads smoothly into the first inversion tonic triad.

• Bass movement do, re, mi has other possibilities. Here, the dominant function is taken by vii^o6.

• Bass movement do, re, sol: re in the bass voice indicates chord ii, which has pre-dominant function. It is therefore very logical to propose that the next chord is V.

• Bass movement do, mi, fa: Many will be tempted to identify a chord with mi in the bass as chord iii. Don’t fall into that trap. Mi in the bass almost always signifies I⁶, not iii.

• Bass movement do, mi, sol: Again, mi in the bass signifies I⁶, not iii.

• Bass movement do, fa, re: it is possible for IV to precede ii.

• Bass movement do, fa, mi: again, mi in the bass is not chord iii.

• Bass movement do, fa, sol: this indications a pre-dominant function on the second chord. In the first example, the chord is ii⁶, and in the second example, it’s IV. ii⁶ is easily confused with chord IV because the bass note is the same. Tip: identify these by their chord qualities. Chord ii, as you know, is minor, whereas chord IV is major.

• Bass movement do, sol, la indicates I-V-vi, i.e. a deceptive cadence.

• Bass movement do, la, fa here indicates the “doo-wop” progression we studied earlier in this chapter. The I-vi-IV progression can easily be confused with its variant, **I-vi-ii⁶, so again, check the chord quality before making an analysis.

• Bass movement do, ti, do isn’t necessarily I-vii^o-I. Here, it indicates I-V^6/5-I.

Remember:

Chord patterns in harmonic dictation are both logical and predictable. There are no trick questions here. If you play the examples in this chapter repeatedly until you have memorized the sound and feel of them in your daily piano practice, you will greatly increase your speed and accuracy in identifying them in quizzes.