I–IV–V–I (nonfiction)
In music, I–IV–V–I or IV–V–I is a chord progression and cadence that, "unequivocally defines the point of origin and the total system, the key."[1] Composers often begin pieces with this progression as an exposition of the tonality:
According to theorist Oswald Jonas, "[a]long with motion toward the fifth (V), IV [the subdominant] appears as a corrective, depriving V (the dominant) of its independence and pointing it back in the direction of its origin [I]."[1] In the key of C, IV provides the note F♮ and eliminates the possibility of G major, which requires F♯.[1] The progression is also often used at the end of works and sections.
A popular variant is vi–IV–V–I, commonly known as the "Komuro progression" (小室進行, komuro shinkō), namesake of Tetsuya Komuro who popularised the progression.
See also
- Predominant chord
- Three-chord song
- V–IV–I turnaround
- ii–V–I progression
- Ragtime progression
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External links
- I–IV–V–I @ Wikipedia
