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    Cadences Pop

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    Ivan Réchard
    The document summarizes several common pop harmonic schemas, including: 1) The 12-bar blues progression uses I, IV, and V chords over 12 bars with variations like dominant 7th chords or a ii-V turnaround. 2) The double plagal progression moves between the ♭VII, IV, and I chords or a rotation starting on I. 3) The doo-wop progression typically outlines I-vi-IV-V or variations starting on different chords.

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    Download as DOCX, PDF, TXT or read online from Scribd

    Cadences Pop

    Uploaded by

    Ivan Réchard
    91 views1 page
    The document summarizes several common pop harmonic schemas, including: 1) The 12-bar blues progression uses I, IV, and V chords over 12 bars with variations like dominant 7th chords or a ii-V turnaround. 2) The double plagal progression moves between the ♭VII, IV, and I chords or a rotation starting on I. 3) The doo-wop progression typically outlines I-vi-IV-V or variations starting on different chords.

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    cadences pop

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    cadences pop

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    The document summarizes several common pop harmonic schemas, including: 1) The 12-bar blues progression uses I, IV, and V chords over 12 bars with variations like dominant 7th chords or a ii-V turnaround. 2) The double plagal progression moves between the ♭VII, IV, and I chords or a rotation starting on I. 3) The doo-wop progression typically outlines I-vi-IV-V or variations starting on different chords.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    91 views1 page

    Cadences Pop

    Uploaded by

    Ivan Réchard
    The document summarizes several common pop harmonic schemas, including: 1) The 12-bar blues progression uses I, IV, and V chords over 12 bars with variations like dominant 7th chords or a ii-V turnaround. 2) The double plagal progression moves between the ♭VII, IV, and I chords or a rotation starting on I. 3) The doo-wop progression typically outlines I-vi-IV-V or variations starting on different chords.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 1

    Summary of common pop harmonic schemas.

    Progression in Progression in
    Schema name Common variations
    Roman numerals C major
    • Dominant sevenths in every chord
    • 16-bar blues, repeating first four
    I|I|I|I| C|C|C|C| measures of I
    12-bar blues IV | IV | I | I | F|F|C|C| • IV in m. 2
    V | IV | I | I | G|F|C|C| • ii–V in mm. 13–14 instead of V–IV;
    applied ii-V in m. 8 (jazz blues)
    • Turnaround in mm. 15–16
    Double plagal ♭VII–IV–I B♭–F–C • Rotation: I–♭VII–IV
    ♭VI–♭III –♭VII– A♭–E♭–B♭–F–
    Extended plagal
    IV–I C
    • Substitute ii for IV: I–vi–ii–V
    Doo-wop I–vi–IV–V C–Ami–F–G
    • Rotation: IV–V–I–vi
    • Rotation to start on any chord: I–V–
    Singer/Songwriter vi–IV–I–V Ami–F–C–G
    vi–IV; IV–I–V–vi; V–vi–IV–I
    Hopscotch IV-V–vi–I F–G–Ami–C • Replacing V (G) with V/vi (E)
    • Minor v instead of major
    • Major I instead of minor
    Cmi–B♭–A♭–G • Added passing chords, such as V
    6
    Lament i–♭VII–♭VI–V
    between i and ♭VII, or IV between
    6

    ♭VII and ♭VI


    • More chords continuing the fifthwise
    root motion
    Cmi–Fmi–B♭–
    Circle-of-fifths i–iv–VII–III etc. • Chord quality can be altered to create
    E♭ applied dominants or applied ii–V
    progressions
    • Minor version: i–III–iv
    • "Deceptive" version: I–III♯–IV (III♯
    Puff I–iii–IV C–Emi–F sounds like a V/vi that resolves
    deceptively by step instead of
    authentically)
    • Rotation: ♭VII–I
    Subtonic shuttle I–♭VII C–B♭
    • Aeolian version: i–♭VII
    Cmi–B♭–A♭–
    Aeolian shuttle i–♭VII–♭VI–♭VII
    B♭
    • Major tonic (picardy third): ♭VI–
    Aeolian cadence ♭VI–♭VII–i A♭–B♭–Cmi
    ♭VII–I
    Dorian shuttle i–IV Cmi–F
    Lydian shuttle I–II♯ C–D
    Lydian cadence II♯–IV–I D–F–C

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