![]() ![]() It has been around for some time and can be found in a variety of musical styles, but it became increasingly common beginning in the mid-1990s with singer/songwriters such as Sarah McLachlan, Jewel, and Joan Osborne, Tonal ambiguity Like the 1950s doo-wop, this is a four-chord cyclical progression. The singer/songwriter schema in its two common rotations. This is best understood through Example 3.Įxample 3. A common Roman numeral analysis for this schema is vi–IV–I–V, or Ami–F–C–G in C major, but the rotation starting with I is also exceedingly common. On top of that, either rotation may be understood as having either the major tonic or the relative minor tonic. The singer/songwriter schema may be the best known of all the four-chord schemas. For example, “Viva la Vida” by Coldplay (2008) works through a cyclical repetition of the same succession of chords, but the phrases begin on IV rather than I ( Example 2).Įxample 2. Rotated doo-wop progression in Coldplay, “Viva la Vida.” Singer/Songwriter Rotationīecause the doo-wop schema is typically employed in cycles, it can also start on a different chord in the cycle and then proceed through the same succession of chords ( rotation). ![]() Substituting ii for IVīecause ii and IV share the same function in this chord progression, ii can be swapped out for IV, as in Otis Redding’s “Try a Little Tenderness” (1966). ![]() The name for this cyclical chord progression comes from its common use in rock ballads from the 1950s and early 1960s, such as “Duke of Earl” by Gene Chandler (1962). However, it has continued to be used frequently ever since: examples include the verse and chorus of “Friday” by Rebecca Black (2011) and the chorus of “Total Eclipse of the Heart” by Bonnie Tyler (1983) (starts at 0:49). The doo-wop schema (left) and a common variation of it that replaces IV with ii (right). Doo-wopĮxample 1 shows music notation, chord symbols, and Roman numerals for the doo-wop schema: I–vi–IV–V, or C–Ami–F–G in C major.Įxample 1. Because of this, they all sound somewhat similar the difference is in the order of the chords. They use the same four chords: I, IV, V, and vi, which are probably the most common chords in all of pop music. The progressions discussed in this chapter all have something in common. It can also be understood in its relative minor: VI–VII–i–III. A common variation is VI–V–i–III (V substitutes for VII in minor). The hopscotch schema is IV–V–vi–I, and it is common in recent pop music (since 2010).A common variation is IV–I–V–vi (rotation). It can also be understood in its relative minor: i–VI–III–VII. The singer/songwriter schema is vi–IV–I–V or I–V–vi–IV, and it was common in 1990s singer/songwriter music.The doo-wop schema is I–vi–IV–V, and it was common in 1960s pop music.Each schema can have variations, such as chord substitution or rotation, while still remaining recognizable as that schema. I, IV, V, and vi are the most common harmonies in pop music, and they can be arranged into several schemas, each with a distinct sound. ![]()
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