Root-position triads (5/3)

Root-position triads over a bass that moves by fourths and fifths — the most natural root motion there is.

The same fourth-and-fifth bass motion in a sharp key, closing with the leading tone rising in the soprano.

Root-position triads in minor. The sharp under the dominant raises its third to make a leading tone.

A minor bass in fourths and fifths, with the sharp appearing only where the dominant does.

A bass that moves mostly by step. Adjacent root-position triads share no tones, so every upper voice must move.

Stepwise bass motion in a flat key, turning back on itself rather than climbing a full scale.

Stepwise root motion in minor, reserving the raised third for the cadence.

A minor bass stepping down and back, with one raised third at the close.

A bass falling by thirds. Each pair of chords shares two tones, so the upper voices barely have to move.

Falling thirds in a sharp key, gathering weight toward the cadence.

Thirds in the minor mode, where the relative major appears without any accidental at all.

A minor bass moving by thirds, with common tones carrying the upper voices.

Steps, thirds and fifths together — the bass motion of real music rather than a drill.

Mixed bass motion in a flat key, ending with the strongest close there is.

Mixed motion in minor, gathering subdominant weight before the dominant arrives.

The last of the root-position set: mixed minor motion, every voice earning its place.