MUTH 12300 (Theory 1)

Class 16 (W6.1)

Topics: Root Motion and Selection of Progressions within Phrases

The Three Root Motions and Common Tones

During our exploration of paradigms, the issue of root motion between chords was often raised.
For instance, in an opening paradigm that includes PD chords, it was pointed out that the
motions I-ii and IV-V are a bit dangerous since root motion by step has no common tones
between chords. For this reason, the progression I-IV-ii-V-I is recommended by the great
French composer and music theorist Rameau. Organizing the chords in this way avoids
stepwise progressions, which Rameau considered very undesirable. Over the course of our
exploration of paradigms, all types of root motions have been encountered. Let’s take some
time now to formalize the voice-leading implications of different root motions.

Before exploring root motions, a quick review of inverting intervals. Below is a summary of all
the motions possible between C and the other notes of the C major scale restricted to an octave
space:

Unison A2 A3 A4 A5 A6 A7 8ve

8ve D7 D6 D5 D4 D3 D2 Unison

This shows the basic idea of invertible intervals—seconds, thirds, and fourths can be flipped to
sevenths, sixths, and fifths respectively. The unison and octave both represent stasis, though the
octave switches register. Because of these relationships, we can speak of a limited number of
root motions. Root motion by unison and octave is just the same chord repeated, and thus isn’t a
motion between distinct harmonies, though revoicings and inversions can vary the sound of
chords with the same root. Motion by step is the same as motion by seventh. Likewise, motion
be third is the same as motion by sixth. Finally, we will speak of motion by fifth as the final
possibility. While it is true that the fourth is the smaller interval (we selected the smaller
interval in the other two cases), the fifth is more commonly selected to identify this interval
space—other examples include “the cycle of fifths” and the most common sequence which is
usually called a “descending fifth sequence” rather than an “ascending fourth sequence.” With
all this in mind, we will explore three types of root motion only—motion by step, motion by
third, and motion by fifth.
In the example below, I’ve shown the three possible root motions ascending and descending
between triads using the tonic chord of C major as a beginning harmony in each case. I’ve given
the triads in root position first to show the move, and then I’ve used inversions to show the
smoothest possible connection between these triads:

Fifth Root Motion (one common tone)

Ascending Descending

I V I V I IV I IV

Third Root Motion (two common tones)

Ascending Descending

I iii I iii I vi I vi

Second (stepwise) Root Motion (no common tones)

Ascending Descending

I ii I viio

Of these three root motions, motion by fifth is the most common in tonal music. This type of
motion has one common tone which can be used to make the progression smooth, but also
introduces two new pitches making the new harmony sound very distinct. Motion by third has
two common tones, which can lead to extremely smooth progressions. However, the harmonies
tend to sound quite similar and motion between them almost gives the impression of
transforming or melding rather than changing. This is especially true in ascending third motions
where the root of the second chord is present in the previous chord. On the other hand,
descending third motions introduce a new chord root. For this reason, D3 root progressions are
more common than A3. The same can be said for D5—here again, the motion introduces a new
root, while in A5 motions the root of the second chord is the common tone from the previous
chord. Finally, the stepwise motions generate all new tones. Here, variety in the sound is
maximized since there are no common tones between the triads. These progressions are not
uncommon but require care in voice leading—with all elements moving, the danger of parallel
fifths and octaves is greatly increased.
Common and Less Common Root Motions

By far, the most common root motion in conventional tonal music is the descending fifth root
motion. All D5 motions are sound. Ascending fifth root motion is also quite common, though
two are not used with great frequency—viio to IV and V to ii. In each of these cases, a dominant
function chord moves to a pre-dominant function chord. As we know, dominants are compelled
to resolve to tonics.

Descending thirds are all sound, though V to iii is a bit rare. While iii can be heard as a tonic
substitute, it shares the third and fifth of the tonic chord and not the root. The more common
tonic substitute vi has the root of the tonic and thus can resolve the leading tone. For that
reason, you will often find V moving to vi (deceptive progression) but rarely to iii. Moving to
iii, the leading tone is one of the common tones. When I play this progression, I hear the V
chord as somewhat suspended or lost, but not really resolved. It’s an interesting effect, but not a
common one in the standard repertoire. Ascending third progressions are generally fine with
one exception—moving from dominant function vii to predominant function ii is not preferred.
Aside from this problematic motion, A3 root motion is generally considered a bit weaker than
D3 motions because of the introduction of new roots when D3 is used.

Finally, stepwise motions are confined to a few common cases. For A2, I to ii is fine in major
but a bit less common in minor where the iio chord is diminished. IV to V is common as is the
deceptive motion V-iv. Finally, vii to I is quite common, especially with the vii in first
inversion. The other A2 motions (ii to iii, iii to IV, vi to vii) are relatively rare. For D2 motions,
the most common by far is vi to V, though I to viio and viio to vi are possible. The others are
quite rare. So, in general, the frequency of these progressions could be represented as follows:

Most Common Least Common

D5 A5
D3 A3
A2 D2

Applying Root Motion Theory to Typical Bass Patterns

Select harmonies for the following bassline. In doing this: 1) try to use the more common root
motions, 2) be aware that inversions are possible, 3) be aware that seventh chords are possible
(in fact, you will need a seventh chord for one of the notes), and 4) try to avoid holding over the
same function from weak beats to strong beats—in other words, change function on strong
beats wherever possible.
I hope you did not select I-ii-iii for the first three bass notes! This motion is an opening
paradigm and the RE in the middle should support dominant function. On the other hand, the
RE at the end of m. 2 moves to SOL, and if the RE in m. 2 is harmonized by dominant function,
we’d be holding the same function across the bar line (I’ve seen this type of progression called
a “harmonic syncopation” in some textbooks). So, RE in m. 2 is best harmonized with a ii chord
to prepare the dominant in m. 3. The end of m. 3 is where you must use a seventh chord. The
progression V to IV to I6 in not found in conventional tonal works—it makes a “backwards”
functional progression Dominant to Pre-Dominant to Tonic. Some theory textbooks call this a
retrogression (backwards progression?). So, the pattern SOL-FA-MI/ME should always use the
V42 chord over FA. First inversion tonic twice in m. 4 is okay, but a bit boring. The second
chord could be iii, which sets up a long D5 progression. The end of m. 6 features a deceptive
motion, which hooks back into a PD-D-T motion to make the final cadence. Here’s a possible
harmonization based on this analysis—there are other possibilities.

AbM: I V43 I6 ii6 V V42 I6 iii vi ii V vi ii65 V I

Here are two other basslines for your consideration. We will discuss these in class:

IN-CLASS ACTIVITY

Analyzing bass lines and composing harmonic progressions.

SHORT HOMEWORK 6

1) Short voice-leading examples showing root motion contrast.

2) Composing a harmonic progression below a bass line.