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I–IV–V–I

Chord progression From Wikipedia, the free encyclopedia

I–IV–V–I
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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:[1]

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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.[1]

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.[2]

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I–IV–V–I chord progression in J.S. Bach's The Well-Tempered Clavier Book II, Prelude in C major.[1]
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I–IV–V–I chord progression in Scarlatti's Sonata in D minor, K. 517.[1]
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