excellent Ron.
the point is to create a satisfying harmonic progression which could serve as a launching point for a lengthier composition.
For example, with your progression, you could now start sketching out a thematic idea that would go over the harmony.
the tempo doesn't have to remain the same, nor the absolute order of the chords.
You could, for example, take the first two measures and stretch that out to 6 measures of music.
The idea is to look at "inner phrasing" within your new harmonic framework.
Where is there a good "pause" in the harmony.
Where might you go back and forth between two chords (to extend a passage, for example, you might repeat a sequence of two or three chords).
Within the type of language you are using, is a single chord enough to sustain the creation of melodic material that extends longer than a beat or two?
So, in other words, once you start stretching the material, you will find spots where you might want to add "passing harmony".
For example, Ron, in your third measure, you might eventually want to add passing harmony between what is now beats 3 and 4.
(I'm not saying this is something you should do, I mean that it is an example of a possibility)
I've found that when we start composing, we tend to think of harmony as something that necessarily requires frequent change.
This is harmonic rhythm.
And harmonic rhythm CAN be rapid, but if you stop and examine some of the better known "classic" works in the repertoire, you'll soon come to realize that most harmonic rhythm is relatively slow.
Beginners tend to write music that has frenetic chord changes.
This ends up forcing them to return to their "tonic" often, and in the end, equals boring music that sounds as though it just cannot "take off".
Some of the good ol' "tools of the trade" of the common practice era composers are actually still quite useful when adapted to contemporary musical language.
Take for example, a harmonic sequence.
Obviously, a contemporary harmonic sequence will probably not revolve around the repetition of a group of secondary dominants.
but a harmonic progression, or even a thematic progression, that has a natural "shift" to it (for example, one that covers a certain intervallic distance) is a great basis for a sequence. A phrase might repeat at intervals of a 2nd, or 3rd, or anything else you choose or that fits. Once might even consider making the repetitions uneven in intervallic relationship (first one a 2nd, second one a 3rd, third one a 4th, etc...)
This also has the advantage of repeating material, which helps cement the building blocks of the music into the audience's ear.
And it does so, without being a literal repetition.
