- I -
V - I (forms a perfect cadence)
- I -
IV - I (forms a plagal cadence)
- I -
V or V - I
- I -
IV or IV - I
- To harmonise
the 4th degree of the scale: if the melody moves upwards use IV and
if the
melody
moves downwards by step, use V7
- V7
- I
- Ic
- V - I: 'doh - te - doh' or 'me - ray -doh'
- Ib
- IV or Vb - I gives a bass line rising by one step
- ii(b)
- Ic - V - I or ii(b) - V - I gives an effective approach
to a perfect cadence
- I -
IV - vii - iii - vi - ii - V - I and vice versa: Circle of Fifths
= strong progression
- V -
vi (or any other than V or I) is an interrupted cadence
- I -
vi drives the music away from I
- vi
- ii or ii - vi is a good progression from the Circle of
Fifths
- VI
- iii - IV is where iii is most safe or iii - VI
- I -
iii - IV: doh - te - lah
- I -
viib - Ib: non-cadential 'me-ray-doh' or 'doh - ray - me'
- When the
tonic note sounds three times, it often good to harmonize it with
I - IV - I
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- IV
- V as it is a weak progression
- I -
ii or ii - I should be avoided in root position, inversions
are okay
- Be wary
of progressions between chords whose roots are consecutive in the scale
- vib
sounds like chord I 'gone wrong' and should be avoided unless there's
no possibility of ambiguity with chord I
- iii
is too close to V and I and is largely useless
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