[Smt-talk] I - V - vi - IV

[CARSON FARLEY]

Regarding the [I - V - vi - IV] chord progression/cycle/sequence/sucession so thoroughly discussed, I would like to add my perspective. After watching the entertaining video with multiple examples of primarily rock/pop songs that use the [whatever you choose to call it] of four chords - I have another perspective. A fundamental aesthetic of pop/rock music is a strong signature root position progression pattern/shape. With very few exceptions root position movement between chord degrees is the choice of pop/rock musicians. While more sophisticated rock groups do use inversions for musical content, or perhaps some piano oriented artists like Elton Johns or Billy Joel, the reliance on simplicity and power of a strong [call it what you want] is important and codified in the style. This sequence of chords certainly meets those requirements with a descending 4th to the V chord, followed by another of the strongest root movements (according to Schoenberg) - an ascending whole step followed by another varied interval of descending major 3rd to the IV chord before returning via 5th to the I. Each chord is arrived at by a different interval, which might sustain the interest and keep the listener attentive and has similarity to the ground bass as material is varied over the [whatever you choose to call it]. A strong signature root movement pattern is evident in many pop/rock hits including this [whatever you choose to call it]. 


Carson Farley 
Composer/cellist/theorist 
University of Washington Alumni - music theory/history
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20140502/e00aa0fb/attachment-0001.htm>