`The proper sequence of these events.
IV, VIII, VI, VII,III,I
VI, VII, IV, VIII, I ,II, III,V
II, IV, VI,VII, I, III, V, III
VIII, IV, VI, VII, III, I, II, V
Answers
Answer:
The I–V–vi–IV progression is a common chord progression popular across several genres of music. It involves the I, V, vi, and IV chords; for example, in the key of C major, this would be: C–G–Am–F.[1] Inversions include:
I–V–vi–IV : C–G–Am–F (optimistic)
V–vi–IV–I : G–Am–F–C
vi–IV–I–V : Am–F–C–G (pessimistic)
IV–I–V–vi : F–C–G–Am
I–V–vi–IV chord progression in C About this soundPlay (help·info).
vi–IV–I–V chord progression in C About this soundPlay (help·info).
The '50s progression uses the same chords but in a different order (I–vi–IV–V), no matter the starting point.
Variations Edit
{
\new Staff \with { \remove "Time_signature_engraver" }
\repeat volta 2 {<c' e' a'>2 <c' f' a'> <c' e' g'> <b d' g'>}
}
"Sensitive female chord progression" ordering, in C major
{
\new Staff \with { \remove "Time_signature_engraver" }
\clef "bass"
\repeat volta 2 {<c g>16 <c g> <c g> <c g> <c g> <c g> <b, fis> <b, fis> <g, d> <g, d> <g, d> <g, d> <g, d> <g, d> <gis, dis> <gis, dis> <a, e> <a, e> <a, e> <a, e> <a, e> <a, e> <g, d> <ges, des> <f, c> <f, c> <f, c> <f, c> <f c'> <f c'> <e b> <e b>}
}
"Pop-punk progression" variation in C major, based on Bennett[1]
A common ordering of the progression, "vi–IV–I–V", was dubbed the "sensitive female chord progression" by Boston Globe Columnist Marc Hirsh.[2] In C major this would be Am–F–C–G, which basically modulates key to A minor. Hirsh first noticed the chord progression in the song "One of Us" by Joan Osborne,[3] and then other songs. He named the progression because he claimed it was used by many performers of the Lilith Fair in the late 1990s.[2] However, the earliest known example of using this progression (at least in a major hit) is Scott McKenzie's San Francisco (Be Sure to Wear Flowers in Your Hair), written by John Phillips.
Dan Bennett claims the progression is also called the "pop-punk progression" because of its frequent use in pop punk.[1]
The vi–IV–I–V progression has been associated with the heroic in many popular Hollywood movies and movie trailers, especially in films released since 2000.[4]
The chord progression is also used in the form IV–I–V–vi, as in songs such as "Umbrella" by Rihanna[5] and "Down" by Jay Sean.[6] Numerous bro-country songs followed the chord progression, as demonstrated by Greg Todd's mash-up of several bro-country songs in an early 2015 video.[7]
A 2009 song by the comedy group The Axis of Awesome, called "Four Chords", demonstrated the ubiquity of the progression in popular music, for comic effect. It was written in E major (thus using the chords E major, B major, C# minor, and A major) and was subsequently published on YouTube.[8] As of May 2020, the two most popular versions have been viewed over 100 million times combined.[9][10]
The British progressive rock band Porcupine Tree made a song called "Four Chords That Made A Million" that appears to be a satire of the broad use of this progression in contemporary commercial music.
I–V–♭VII–IV Edit
I–V–♭VII–IV in A About this soundPlay (help·info)
I–V–♭VII–IV may be viewed as a variation of I–V–vi–IV, replacing the submediant with the subtonic. It consists of two I-V chord progressions, the second a whole step lower (A–E–G–D = I–V in A and I–V in G), giving it harmonic drive. There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V-IV). The progression also makes possible a chromatic descent over a contiguous heptachord (minor third): {\displaystyle {\hat {8}}}\hat 8–♯{\displaystyle {\hat {7}}}\hat 7–♮{\displaystyle {\hat {7}}}\hat 7–{\displaystyle {\hat {6}}}\hat 6. The roots of the chords are usually considered to be part of the Dorian scale; other modes, such as major and Mixolydian[11] can be used when performing the progression, even though the progression contains notes outside of these modes (e.g. ♭VII for the major scale and the third of V for Mixolydian.
I–IV–♭VII–IV About this soundPlay (help·info)
"(You Make Me Feel Like) A Natural Woman" by Carole King make prominent use of this progression in its verses. "Lay Lady Lay"[11] uses the similar progression I–iii–♭VII–ii; the second and fourth chords are replaced by the relative minor while preserving the same {\displaystyle {\hat {8}}}\hat 8–♯{\displaystyle {\hat {7}}}\hat 7–♮{\displaystyle {\hat {7}}}\hat 7–{\displaystyle {\hat {6}}}\hat 6 descent. This progression is used in other songs including "Turning Japanese" (1980) by The Vapors, "Sample in a Jar" (