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Here, we are simply ascending the C Major scale, with each note used as the root of the next chord in the sequence: C Dm Em F G Am. ii has a predominant function, so it's no so bad that it leads into iii, but this implies the iii has a dominant function. The next chord is IV, the main pre-dominant chord. iii - IV might work if the iii has a tonic function, but in this case it doesn't; and the transition will sound awkward. IV - V is common and worry-free progression, but the following V - vi hurts the dominant functionality of the V. Even though vi can have tonic functionality, it is much less strong than the V - I, dominant - tonic resolution. Then we have vi - I. The vi likely serves a tonic functionality here, coming off the preceding V. This makes the vi - I progression weak and uneventful, probably the opposite of what is desired leading into the last chord of the piece.
== Cadences ==
''Cadences'' are harmonic devices to create a sense of resolution for the end of a progression. There are several types, based on the chords involved, as well as their voicing.
=== Authentic Cadence ===
An ''Authentic Cadence'' is a dominant-tonic progression. The dominant 7th can be used in place of the dominant triad. A ''perfect authentic cadence'' must use the V or V{{7}} chord as the dominant, have both chords in root position, and voice the tonic note in the tonic chord in the highest voice. An ''imperfect authentic cadence'' is similar, but breaks one or more of the above conditions. It may substitute the vii{{dim}} chord for the V.
== Homework ==