I-V-vi-IV progression

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The I-V-vi-IV progression is a popular chord that is popular in several musical genres. This involves chords I, V, vi, and IV; for example, in key C major, this would be: C-G-Am-F. Usage based on different starting point but with the same chord sequence, including:

• I-V-vi-IV, C-G-Am-F (optimistic)
• V-vi-IV-I, G-Am-F-C
• vi-IV-I-V, Am-F-C-G (pessimistic)
• IV-I-V-vi, F-C-G-Am

The development of the 50s used the same chords but in different order (I-vi-IV-V), no matter the starting point.

Video I-V-vi-IV progression

Variations

The general sequence of development, "vi-IV-I-V", dubbed the the development of sensitive female chords by Boston Globe Columnist Marc Hirsh. In C major this is Am-F-C-G. Hirsh first noticed the chords in "One of Us" by Joan Osborne, and then other songs. He named the development because he claimed it was used by many players from Lilith Fair in the late 1990s.

And Bennett claims his development is also called "pop-punk development" because it is often used in pop punk.

The development of vi-IV-I-V has been linked to heroism in many popular Hollywood films and trailers, especially in movies released since 2000.

Chord progression is also used in the form of IV-I-V-vi , as in songs like "Umbrella" by Rihanna and "Down" by Jay Sean. Many bro-country songs follow chords, as shown by mash-up Greg Todd of some bro-country songs in the early 2015 video.

A 2009 song by The Axis of Awesome comedy group, called "Four Chords", demonstrates progressive developments in popular music, for comic effects. It's written in D major (thus using D major chords, A major, B minor, and G major) and then published on YouTube. As of December 2017, the two most popular versions have been viewed over 80 million times.

IV- ? VII-IV

I-V- ? VII-IV can be seen as a variation of I-V-vi-IV, replacing submediant with subtonic. It consists of two I-V accordions, the two lower overall steps (A-E-G-D = I-V in A and I-V in G), giving it a harmonious drive. There are several keys in which one can play progressions with open chords on the guitar, so it is often depicted with barre chords ("Lay Lady Lay"). The flattened seventh usage may lend this development a blues feeling or sound, and the whole tone of heredity may remind us of the ninth and tenth chords of the twelve blues bars (V-IV). This development also allows colored offspring on adjacent heptachords (a small third): ${\ displaystyle {\ hat {8}}}$ - ? ${\ displaystyle {\ hat {7}}}$ - ? ${\ displaystyle {\ hat {7}}}$ - ${\ displaystyle {\ hat {6}}}$ . The chord roots are in Mixolydian, which is used in "Lay Lady Lay", although its development contains a note outside of Mixolydian (third from V, see Phrygian dominant scale) and other modes, such as major, can be used when performing progression.

This development is used in songs including "Lay Lady Lay" (1969) by Bob Dylan (a variant using parallel parallel on 2nd and 4th chords: I-iii- ? (VII-IV), and "Waterfalls" (1994) by Phish 1995) by TLC. "Cinnamon Girl" (1969) by Neil Young using I-v- ? VII-IV (all in Mixolydian). It opens the verse for "Natural Woman" (1967) by Aretha Franklin, used in the choir for "Sugar Hiccup" (1983) by Cocteau Twins, and is located in the 2nd part of the bridge at "Sweet Jane" (1988). ) by Cowboy Junkies. I-IV- ? VII-IV is the same chord progression formed by the curvature (I-IV- VII-IV-I) , and has been used in the choir for "And She Was" (1985) by Talking Heads, in "Let's Go Crazy" (1984) by Prince, in "Like a Rock" (1986) by Bob Seger. and in "Steady, As She Goes" (2006) by The Raconteurs (minor tonic: i-V- VII-IV).

Maps I-V-vi-IV progression

Example

Contoh penggunaan pengembangan IV-vi-IV termasuk â€Å"Mundur Malam†All-American Rejects, The Rolling Stones's "Beast of Burden", The Beatles's "Let It Be", Blink-182's "Dammit", "Feeling This" , dan lain-lain.

The songs that use the development of vi-IV-I-V include: Anselmo Ralph "NÃÆ' Â £ o Me Toca", Don Omar "Danza Kuduro", Enrique Iglesias "Bailando", "Self-Esteem" The Offspring, and others.

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See also

• Roman numerals analysis
• "Song Complexity"

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References

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Further reading

• Scott, Richard J. (2003). Chord Progression for Songwriters . iUniverse. pp. 216-218. ISBN: 0-595-26384-4.

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External links

• Axis of Awesome - 4 Four Chord Song (with title track) on YouTube

Source of the article : Wikipedia