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 "||"
}
>>
>> }](http://upload.wikimedia.org/score/g/o/go253kxgq5a9t8ey5pa4a8kt8olx093/go253kxg.png)
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]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Bach_-_WTC_II%2C_Prelude_in_C_Major.png/450px-Bach_-_WTC_II%2C_Prelude_in_C_Major.png)
I–IV–V–I chord progression in J.S. Bach's The Well-Tempered Clavier Book II, Prelude in C Major.[1]
![About this sound](http://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Loudspeaker.svg/11px-Loudspeaker.svg.png)
See also[]
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.
Categories:
- Cadences
- Chord progressions
- Music theory stubs