I–IV–V–I

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    {
      \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 "||"
                }
            >>
    >> }

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]

A popular variant is vi–IV–V–I, commonly known as the "Komuro progression" (小室進行, komuro shinkō), namesake of Tetsuya Komuro who popularised the progression.[2]

I–IV–V–I chord progression in J.S. Bach's The Well-Tempered Clavier Book II, Prelude in C major.[1]
I–IV–V–I chord progression in Scarlatti's Sonata in D minor, K. 517.[1]

See also

Sources