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  • The IV-I Cadence and Cycles

    Diunggah oleh

    Milton Mermikides
    546 tayangan2 halaman
    The IV-I and cycles m.mermikides@surrey.ac.uk Much of the course material has focused on the V-I resolution, which is a fundamental component of tonal harmony. However in rock, pop, folk and modal music the IV-I is an equally important resolution. In classical music a IV-I resolution may be called a plagal cadence (The 'a-men' of a hymn) { Here's one of many possible voicings F C w w & w ? w w w w w IV I The IV-I appears very often in rock and pop tunes, perhaps as frequently as the V-I. Of

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    The IV-I cadence and cycles

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    The IV-I and cycles m.mermikides@surrey.ac.uk Much of the course material has focused on the V-I resolution, which is a fundamental component of tonal harmony. However in rock, pop, folk and modal music the IV-I is an equally important resolution. In classical music a IV-I resolution may be called a plagal cadence (The 'a-men' of a hymn) { Here's one of many possible voicings F C w w & w ? w w w w w IV I The IV-I appears very often in rock and pop tunes, perhaps as frequently as the V-I. Of

    Hak Cipta:

    Attribution Non-Commercial (BY-NC)
    Unduh sebagai PDF, TXT atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    546 tayangan2 halaman

    The IV-I Cadence and Cycles

    Diunggah oleh

    Milton Mermikides
    The IV-I and cycles m.mermikides@surrey.ac.uk Much of the course material has focused on the V-I resolution, which is a fundamental component of tonal harmony. However in rock, pop, folk and modal music the IV-I is an equally important resolution. In classical music a IV-I resolution may be called a plagal cadence (The 'a-men' of a hymn) { Here's one of many possible voicings F C w w & w ? w w w w w IV I The IV-I appears very often in rock and pop tunes, perhaps as frequently as the V-I. Of

    Hak Cipta:

    Attribution Non-Commercial (BY-NC)
    Unduh sebagai PDF, TXT atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    dari 2

    The IV-I and cycles

    m.mermikides@surrey.ac.uk

    Much of the course material has focused on the V-I resolution, which is a fundamental component
    of tonal harmony. However in rock, pop, folk and modal music the IV-I is an equally important
    resolution. In classical music a IV-I resolution may be called a plagal cadence (The 'a-men' of a hymn)

    {
    Here's one of many possible voicings

    w
    F C
    w
    & w
    w w
    w
    ? w w
    The IV-I appears very often in rock and pop tunes, perhaps as frequently as the V-I.
    Often IV is interjected between V and I in a resolution.

    V IV I

    & V V V V V V V V V V V V
    G F C

    In rock, blues and pops major triads are often extended to dominant 7 chords (even if they are non-diatonic)
    The V7-IV7-I7 is found in the last 4 bars of a basic blues form.

    V7 IV7 I7

    & V V V V V V V V V V V V V V V V
    G7 F7 C7

    The IV-I also forms part of one of the most common chord sequences in rock and pop music:
    The I-V-vi-IV progression. See: http://www.youtube.com/watch?v=5pidokakU4I

    I V VIm IV

    & ™™ V V V V V V V V ™™
    C G A‹ F
    2
    The IV-I resolution may be extended backwards by one step.
    This is a very common rock sequence, which involves major triads gong down in 4ths.
    The I, IV and bVII all appear in the mixolydian mode, which is implied by the sequence.

    bVII IV I

    & V V V V V V V V
    B¨ (down 4th) F (down 4th) C

    In the bridge of a rhythm section for example, a series of dominant chords


    can be linked together, with each resolving down a 5th until they arrive at the I chord.
    A series of 4th-descending major triads may also be linked together.
    In the following sequence this pattern of major triads means that the first three chords are
    derived from the (C) natural minor scale, while the last 2 are from the major key.
    This exact sequence is used, in the key of E, in Jimi Hendrix's Hey Joe.
    Because a minor pentatonic scale can be played over both a minor and major key, it can be
    used over this entire sequence.

    Minor
    Mixolydian
    Major

    bVI bIII bVII IV I

    & V V V V V V V V V V V V V V V V
    A¨ E¨ B¨ F C

    (down 4th) (down 4th) (down 4th) (down 4th)

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