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lies at the end of the circle progression, as does the vi–ii–V–I progression of root movement by descending fifths, which establishes tonality and also strengthens the
911:
717:
382:
Shorter progressions may be derived from this by selecting certain specific chords from the progression through all seven diatonic chords. The
686:
494:
79:. For instance, in C major, the chords are Am–Dm–G–C, which have roots that descend by perfect fifth (or ascend by fourth), as shown below.
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It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent
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or section. The I−vi−ii−V chord progression occurs as a two-bar pattern in the A section of the
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Das Wesen des musikalischen
Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers
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in ascending fourth or descending fifth relationship", with movement by ascending
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489:, seventh edition, 2 vols. + 2 sound discs (Boston: McGraw-Hill, 2003) 1:178.
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at the end. A full circle of fifths progression in C major is shown below.
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343:
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180:
39:, along which it travels). A vi–ii–V–I progression in C major (with
342:
The circle progression is commonly a succession through all seven
133:
103:
20:
237:
699:
630:
Strunk, Steven (2007), "Harmony", in
Kernfeld, Barry (ed.),
99:
634:, vol. 2nd Edition, New York: Oxford University Press
371:
Audio playback is not supported in your browser. You can
217:
Audio playback is not supported in your browser. You can
179:
Pop songs that include the vi–ii–V–I progression include
52:
Audio playback is not supported in your browser. You can
615:. Cambridge, UK: Cambridge University Press. p.
679:
Music Theory
Workbook for Guitar: Scale Construction
653:. Berkeley: University of California Press. p.
1025:
934:
864:
796:
787:
733:
646:
608:
567:
611:The Cambridge Companion to Blues and Gospel Music
649:The Birth of Bebop: a Social and Musical History
236:is one of the most common chord progressions in
537:Introduction to the Theory of Heinrich Schenker
294:ii V+
291:i vi
283:, the diatonic progression below is possible.
711:
8:
511:William G Andrews and Molly Sclater (2000).
507:
505:
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461:Andrews, William G; Sclater, Molly (2000).
71:being equivalent to movement by descending
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718:
704:
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264:". It can be varied as well: according to
83:
481:
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228:A I–vi–ii–V chord progression in C major.
574:. Petaluma, CA: Sher Music Co. pp.
485:Bruce Benward and Marilyn Nadine Saker,
350:by fifths, including one progression by
287:
454:
96:Examples of vi–ii–V–I are shown below.
240:. The progression is often used as a
7:
561:
559:
557:
397:In a minor key, the progression is
338:I−IV−vii°−iii−vi−ii−V−I progression
358:(in C major, B), returning to the
354:, (in C: between F and B) and one
14:
632:The New Grove Dictionary of Jazz;
513:Materials of Western Music Part 1
463:Materials of Western Music Part 1
276:as the VI chord in a I-VI-II-V."
268:, "oday's players usually play a
108:A vi–ii–V–I chord progression in
645:DeVeaux, Scott Knowles (1997).
607:Moore, Alan F. (2002). "XII".
1:
487:Music In Theory and Practice
368:
244:, occurring as the last two
214:
49:
256:, the progression based on
138:A vi–ii–V–I progression in
1099:
1064:List of chord progressions
202:
1061:
677:Arnold, Bruce E. (2001).
293:
290:
145:The Well-Tempered Clavier
16:Type of chord progression
543:). Trans. John Rothgeb.
390:through the contrast of
922:Tadd Dameron turnaround
437:Tadd Dameron turnaround
399:i–iv–VII–III–VI–ii°–V–i
373:download the audio file
219:download the audio file
54:download the audio file
1017:Montgomery-Ward bridge
997:Royal road progression
892:Montgomery-Ward bridge
442:Royal road progression
166:
129:
962:Borrowed (contrafact)
566:Levine, Mark (1995).
137:
107:
25:vi–ii–V–I progression
1053:Irregular resolution
831:Backdoor progression
570:The Jazz Theory Book
444:- IV–V–iii–vi–ii–V–I
148:Book I, Prelude in F
433:- V/vi–V/ii–V/V–V–I
431:Ragtime progression
1083:Chord progressions
987:Passamezzo moderno
947:Andalusian cadence
877:Andalusian cadence
856:Passamezzo moderno
756:Constant structure
727:Chord progressions
311:
270:dominant 7th chord
167:
130:
43:) is shown below.
33:circle progression
1070:
1069:
1047:Pachelbel's Canon
982:Passamezzo antico
930:
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897:Passamezzo antico
851:Sixteen-bar blues
816:V–IV–I turnaround
811:ii–V–I turnaround
687:978-1-890944-53-7
495:978-0-07-294262-0
426:Extended dominant
416:Predominant chord
384:ii–V–I turnaround
377:
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205:ii–V–I turnaround
185:Island in the Sun
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31:(also called the
29:chord progression
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1002:"Rhythm" changes
972:Coltrane changes
872:'50s progression
841:Twelve-bar blues
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421:Dominant (music)
356:diminished chord
352:diminished fifth
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281:jazz minor scale
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258:George Gershwin
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41:inverted chords
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348:diatonic scale
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272:rather than a
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203:Main article:
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114:Sonata, K. 545
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69:perfect fourth
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73:perfect fifth
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1012:Tadd-Dameron
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761:Double tonic
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346:chords of a
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262:I Got Rhythm
233:
232:
193:It's My Life
178:
170:
143:
95:
62:
32:
24:
18:
1043:Ground bass
912:IV–V–iii–vi
734:Terminology
266:Mark Levine
779:Turnaround
585:1883217040
465:, p.226.
242:turnaround
917:Romanesca
902:I–V–vi–IV
887:vi–ii–V–I
790:of chords
788:By number
766:Notation
515:, p.227.
234:I−vi−ii−V
199:I−vi−ii−V
189:Talk Talk
140:J.S. Bach
77:inversion
1077:Category
1038:Chaconne
952:Backdoor
823:♭
806:I–IV–V–I
681:, p.12.
594:34280067
535:(1982).
405:See also
344:diatonic
151:♯
92:Examples
35:for the
1026:Related
992:Ragtime
977:Omnibus
935:By name
843: (
751:Changes
746:Cadence
449:Sources
279:In the
154:major.
75:due to
967:Circle
741:Bridge
685:
661:
592:
582:
547:
519:
493:
469:
250:chorus
187:" and
181:Weezer
171:
110:Mozart
23:, the
1007:Stomp
882:Folía
798:Three
360:tonic
248:of a
65:roots
27:is a
21:music
906:list
865:Four
683:ISBN
659:ISBN
590:OCLC
580:ISBN
545:ISBN
517:ISBN
491:ISBN
467:ISBN
328:Play
260:'s "
246:bars
238:jazz
191:'s "
183:'s "
160:Play
122:Play
942:50s
655:310
617:126
388:key
195:".
142:'s
112:'s
19:In
1079::
657:.
588:.
578:.
576:25
556:^
502:^
478:^
401:.
394:.
309:Dm
304:Am
300:Cm
116:.
1049:)
1045:(
908:)
904:(
847:)
719:e
712:t
705:v
689:.
667:.
619:.
596:.
551:.
523:.
497:.
473:.
375:.
313:G
221:.
128:.
56:.
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