In music, I窶的V窶天窶的 or IV窶天窶的 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]
A popular variant is vi窶的V窶天窶的, commonly known as the "Komuro progression" (蟆丞ｮ､騾ｲ陦, komuro shinkﾅ), namesake of Tetsuya Komuro who popularised the progression. [2]
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See also
Sources
- ^ a b c d e f g Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einfﾃｼhrung in Die Lehre Heinrich Schenkers), p. 23. Trans. John Rothgeb. ISBN 0-582-28227-6.
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^ 鬮伜｢ 譏 (October 31, 2015).
"譌･譛ｬ縺ｮ繝昴ヴ繝･繝ｩ繝ｼ髻ｳ讌ｽ縺ｮ讖溷勣縺ｨ邨梧ｸ亥●貊". 髢｢隘ｿ螟ｧ蟄ｦ遉ｾ莨壼ｭｦ驛ｨ邏隕. 47 (1). 髢｢隘ｿ螟ｧ蟄ｦ遉ｾ莨壼ｭｦ驛ｨ: 1窶20.
hdl:
10112/9455.
ISSN
0287-6817.
莉悶↓繧やｦ 蟆丞ｮ､騾ｲ陦鯉ｼ亥ｰ丞ｮ､蜩ｲ蜩峨ｯ縲1990蟷ｴ莉｣縺ｫ螟壹￥縺ｮ繝偵ャ繝域峇繧堤函縺ｿ蜃ｺ縺励◆繧｢繝ｼ繝繧｣繧ｹ繝医ｻ菴懈峇螳ｶ繝ｻ繝励Ο繝繝･繝ｼ繧ｵ繝ｼ縺ｧ縲∝ｰ丞ｮ､縺悟･ｽ繧薙〒菴ｿ逕ｨ縺励◆繧ｳ繝ｼ繝蛾ｲ陦後ｮ繝代ち繝ｼ繝ｳｼ峨→縺縺｣縺溷ｮ壼梛蛹悶＆繧後◆繧ｳ繝ｼ繝峨ヱ繧ｿ繝ｼ繝ｳ縺御ｽｿ繧上ｌ繧九％縺ｨ縺悟､壹＞窶ｦ 蟆丞ｮ､騾ｲ陦鯉ｼ哂m 竊 DmｼFｼ俄 G 竊 C
[There are other standardised chord progressions, such as... the Komuro progression (a chord progression favoured by Tetsuya Komuro, an artist, composer and producer who created many hit songs in the 1990s)... Komuro progression: Am 竊 Dm(F)竊 G 竊 C]
 | This music theory article is a stub. You can help Wikipedia by expanding it. |
In music, I窶的V窶天窶的 or IV窶天窶的 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]
A popular variant is vi窶的V窶天窶的, commonly known as the "Komuro progression" (蟆丞ｮ､騾ｲ陦, komuro shinkﾅ), namesake of Tetsuya Komuro who popularised the progression. [2]
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|
See also
Sources
- ^ a b c d e f g Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einfﾃｼhrung in Die Lehre Heinrich Schenkers), p. 23. Trans. John Rothgeb. ISBN 0-582-28227-6.
-
^ 鬮伜｢ 譏 (October 31, 2015).
"譌･譛ｬ縺ｮ繝昴ヴ繝･繝ｩ繝ｼ髻ｳ讌ｽ縺ｮ讖溷勣縺ｨ邨梧ｸ亥●貊". 髢｢隘ｿ螟ｧ蟄ｦ遉ｾ莨壼ｭｦ驛ｨ邏隕. 47 (1). 髢｢隘ｿ螟ｧ蟄ｦ遉ｾ莨壼ｭｦ驛ｨ: 1窶20.
hdl:
10112/9455.
ISSN
0287-6817.
莉悶↓繧やｦ 蟆丞ｮ､騾ｲ陦鯉ｼ亥ｰ丞ｮ､蜩ｲ蜩峨ｯ縲1990蟷ｴ莉｣縺ｫ螟壹￥縺ｮ繝偵ャ繝域峇繧堤函縺ｿ蜃ｺ縺励◆繧｢繝ｼ繝繧｣繧ｹ繝医ｻ菴懈峇螳ｶ繝ｻ繝励Ο繝繝･繝ｼ繧ｵ繝ｼ縺ｧ縲∝ｰ丞ｮ､縺悟･ｽ繧薙〒菴ｿ逕ｨ縺励◆繧ｳ繝ｼ繝蛾ｲ陦後ｮ繝代ち繝ｼ繝ｳｼ峨→縺縺｣縺溷ｮ壼梛蛹悶＆繧後◆繧ｳ繝ｼ繝峨ヱ繧ｿ繝ｼ繝ｳ縺御ｽｿ繧上ｌ繧九％縺ｨ縺悟､壹＞窶ｦ 蟆丞ｮ､騾ｲ陦鯉ｼ哂m 竊 DmｼFｼ俄 G 竊 C
[There are other standardised chord progressions, such as... the Komuro progression (a chord progression favoured by Tetsuya Komuro, an artist, composer and producer who created many hit songs in the 1990s)... Komuro progression: Am 竊 Dm(F)竊 G 竊 C]
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| This music theory article is a stub. You can help Wikipedia by expanding it. |