I–IV–V–I

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]

A perfect authentic cadence in four-part harmony

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]

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

I–IV–V–I chord progression in Scarlatti's Sonata in D minor, K. 517.[1]

See also

• Predominant chord
• Three-chord song
• V–IV–I turnaround
• ii–V–I progression
• Ragtime progression