I–IV–V–I

In music, I–IV–V–I or IV–V–I is a n 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]

A perfect authentic cadence in four-part harmony

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]

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

See also

Sources
  1. Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.23. Trans. John Rothgeb. ISBN 0-582-28227-6.
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