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The ’50s progression is a chord progression and turnaround used in Western popular music
The progression, represented in Roman numeral analysis, is: I–vi–IV–V.
For example, in C major: C–Am–F–G. As the name implies, it was common in the 1950s and early 1960s and is particularly associated with doo-wop.
It has also been called the “Heart and Soul” chords, the “Stand by Me” changes,[1][2] the doo-wop progression[3]:204 and the “ice cream changes”
The first song to use the sequence extensively might have been “Blue Moon”, written in 1933 by Richard Rodgers, and first released, with lyrics by Lorenz Hart, in 1934
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Contents
Theory
In Western classical music during the common practice period, chord progressions are used to structure a musical composition. The destination of a chord progression is known as a cadence, or two chords that signify the end or prolongation of a musical phrase. The most conclusive and resolving cadences return to the tonic or I chord; following the circle of fifths, the most suitable chord to precede the I chord is a V chord. This particular cadence, V–I, is known as an authentic cadence. However, since a I–V–I progression is repetitive and skips most of the circle of fifths, it is common practice to precede the dominant chord with a suitable predominant chord, such as a IV chord or a ii chord (in major), in order to maintain interest. In this case, the 50s progression uses a IV chord, resulting in the ubiquitous I–IV–V–I progression. The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass voice descends in major or minor thirds from the I chord to the vi chord to the IV chord.
Variations
As with any other chord progression, there are many possible variations, for example turning the dominant or V into a V7, or repeated I–vi progression followed by a single IV–V progression. A very common variation is having ii substitute for the subdominant, IV, creating the progression I–vi–ii–V (a variant of the circle progression) and thus the ii–V–I turnaround.
Variations include switching the vi and the IV chord to create I–IV–vi–V, as is used in “More Than a Feeling” by Boston[5] and “She Drives Me Crazy” by Fine Young Cannibals.[citation needed] This is also similar to the I–V–vi–IV progression.
The harmonic rhythm, or the pace at which the chords occur, may be varied including two beats (half-measure) per chord (
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Play (help·info)), four (
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Play (help·info)) (full measure or bar), eight (
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Play (help·info)) (two measures), and eight beats per chord except for IV and V(7) which get four each (
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Play (help·info)).[3]:206
“Sleep Walk” by Santo & Johnny uses a similar progression, with the IV replaced by its parallel minor iv for an overall progression of I–vi–iv–V.[citation needed]
Well-known examples include the Penguins’ “Earth Angel” (1954), Ben E. King’s “Stand By Me” and Gene Chandler’s “Duke of Earl” (1962).[3]:206[6] Other examples include Sam Cooke’s “Lovable” and other doo-wop material of the era.[7] A modern example can be found in Green Day’s “Jesus of Suburbia”.[8] Many more recent examples exist, such as Neutral Milk Hotel’s “In the Aeroplane Over the Sea”.[citation needed] The progression is also the basis for the verses of The Bangles’ 1989 hit “Eternal Flame”.[9] Madonna’s 1986 single “True Blue” is written in the 50s progression.[10] More notable recent examples are Daughtry’s “What About Now”, Sean Kingston’s “Beautiful Girls”, Rebecca Black’s “Friday”,[11][12][13] and Ed Sheeran’s “Perfect” (2017).
The A-section of the song “Heart and Soul” is often simplified as a repeating I–vi–ii–V or I–vi–IV–V progression (or even both variants, alternating) and taught to beginning piano students as an easy two-hand duet. This (somewhat inaccurate) version of the song became widely known, even to those who never studied piano.[citation needed] (
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example (help·info)).
The I–vi–ii–V variation of the 50s progression is also used quite often. Examples include Queen’s “Bohemian Rhapsody” and Sheena Easton’s “Morning Train (Nine To Five)”.
Walter Everett argues that, “despite the unusual surface harmonic progressions”, in The Beatles’ “Strawberry Fields Forever” (1967), “the structural basis of the song is I–VI–IV–V–I [sic]”.[14] The chorus of The Beatles’ “Happiness Is a Warm Gun” is an example of the fifties progression.[3]:206[15][example’s importance?]
In the musical Grease, the progression is invoked for the purpose of self-parody in the song “Those Magic Changes”. The chorus includes a backup vocal line with lyrics “C–C–C–C–C–C / A–A–A–A-minor / F–F–F–F–F–F / G–G–G–G-seven” (repeat).[citation needed]
The 50s progression is also commonly used in reggae, including “Rocksteady”, and Peter Tosh’s “Brand New Second Hand”.[citation needed]
Although the progression is less commonly used in Pop music today, it has recently been used in the Taylor Swift hit song Me!, where it shows up in both verses and all choruses
Examples in classical music
Instances of the I-vi-IV-V progression date back to the 17th century, for example, the ostinato bass line of Dieterich Buxtehude’s setting of Psalm 42, Quem admodum desiderat cervus, BuxWV 92:
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Buxtehude, Psalm 42 “Quem ad modum desiderat cervis”
The opening of J. S. Bach’s Cantata “Wachet Auf”:
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J. S. Bach Cantata BWV140, orchestral introduction to the opening chorus
The progression is found frequently in works by Mozart, such as his A minor Piano Sonata:
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Mozart, from first movement of Piano Sonata in A minor K310
The opening of his Piano Concerto 22, K482 extends the progression in a particularly subtle way, making use of suspensions:
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Mozart Piano Concerto K482, opening bars
Eric Blom (1935, p. 227) hears this passage as “the height of cunning contrivance resulting in what is apparently quite simple and obvious, but what could have occurred to nobody else”
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