I–IV–V–I

${ \new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 c2 b c1 } \new Voice \relative c' { \stemDown f2 d e1 } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 a2 g g1 } \new Voice \relative c { \stemDown f,2_\markup { \concat { \translate #'(-4 . 0) { "C: IV" \hspace #2.2 "V" \hspace #5.3 "I" } } } g c1 \bar "||" } >> >> }$

A perfect authentic cadence in four-part harmony

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]

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]

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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Sources[]

^ Jump up to: ^a ^b ^c ^d ^e ^f ^g Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.23. Trans. John Rothgeb. ISBN 0-582-28227-6.

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[Jonas-1] Jump up to: ^a ^b ^c ^d ^e ^f ^g Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.23. Trans. John Rothgeb. ISBN 0-582-28227-6.

[1]

I–IV–V–I

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