42 Ear Training – Root Movement in Chord Progressions

Tips for Analysis

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

Piano Practice Excerpt 1

Examples (1) and (2) have the bass notes do, re, mi.

• First-time learners are often tempted to analyze this root movement as a predictor for I-ii-iii.
  • However, this progression is not possible because of the rules of chord progression. While chord I can definitely go to chord ii, ii cannot go to iii.
• Therefore, 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.

• The bass notes do, re, mi have other possibilities. In example (2), the dominant function is taken by vii^o6.

Example (3) has the bass notes 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.

Example (4) has the bass notes do, mi, fa. Don’t fall into the trap of identifying a chord with mi in the bass as chord iii. Mi in the bass almost always signifies I⁶, not iii. (Only Johann Pachelbel is allowed to use chord iii!)

Piano Practice Excerpt 2

Example (5) has bass notes do, mi, sol. Once more, mi in the bass signifies I⁶, not iii.

Example (6) has bass notes do, fa, re. IV can precede ii, so I-IV-ii is logical here.

Example (7) has bass notes do, fa, mi. Again, mi in the bass indicates I⁶, not iii.

Example (8) and (9) both contain bass notes do, fa, sol. In both cases, fa indicates a pre-dominant function. All that changes is that in example (8), the chord is ii⁶, and in example (9), it’s IV.

• How do we tell the difference between ii⁶ and IV? For best results, listen hard to the chord qualities. Chord ii is minor, whereas chord IV is major.

Piano Practice Excerpt 3

In example (10), the bass notes do, sol, la indicates I-V-vi, i.e. it ends with a deceptive cadence.

The bass notes do, la, fa in example (11) indicate the “doo-wop” progression, I-vi-IV. This identification can be easily confused with the harmony in example (12), which I-vi-ii⁶ (a variant on the I-vi-IV progression). When you hear fa in the bass, carefully check the chord quality (i.e. major or minor) so as not to confuse IV with ii⁶.

In example (13), the bass movement do, ti, do doesn’t necessarily indicate I-vii^o-I…here, it indicates I-V^6/5-I.

Things to Remember:

• Harmonic progressions in harmonic dictation are not random, but highly logical and rather predictable.
• 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 increase your speed and accuracy in identifying them in harmonic dictation exercises.