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Is the I-IV-viio-I progression never usable?

All those progressions are likely to sound good. And actually, you can make pretty much any progression sound phenomenal in the right context. I don't see any problem with I - IV - viio - I. It's ...
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Is the I-IV-viio-I progression never usable?

The I-IV-viio-I progression is possible, but is omitted from the examples, because they are focused on cadences by perfect fifth. In all of the cases above, the final I chord is approached by either ...
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1 vote
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Unanswered questions about Second Inversion and Perfect fourth

there's an explanation that all the voice parts have to move in a certain direction. but I don't know why the rest of the notes other than the bass and the Perfect fourth have to move in the certain ...
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1 vote

Unanswered questions about Second Inversion and Perfect fourth

why do I always have to move only with steps? (Except for case 2 in the image) I don't know the exact reason for that. It's more idiomatic, more singable. It's not a strict rule; you can find ...
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3 votes
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What is the principle of I46 progression to I7?

Although the V chord "resolves" to the I chord, it resolves to the least stable inversion, I64. It is truly a I chord in this case, but doesn't function fully as a cadence because of the ...
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1 vote

How to improvise a walking bass line

Here are some walking bass resources online that I like: Daric's lessons at https://daricbennett.com/free-bass-lessons/walking-bass-line-for-beginners-over-a-2-5-1-progression/ breakdown walking bass ...
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1 vote

What is the music theoretical basis for this chord transition?

It's an A maj aug 5. https://en.wikipedia.org/wiki/Minor_sixth That part is just bouncing between a Dm and A maj. The F is just carrying over to the the Dm7.
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2 votes

What is the music theoretical basis for this chord transition?

It's Dm A/C# Dm7/C with the F5 held during the change through A/C#. With C# and E in the outer voices and an A included it has all the tones and movement of Dm: i V6, and I think that progression ...
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What is the music theoretical basis for this chord transition?

Your chord is a combination of an A/C# and a Dm chord. I wouldn't give it a name. The composer wants the whole passage to sound like it continues to hammer out Dm chords, but they also want the ...
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Can the final cadence of Dvorak 9 Finale (D7/A - E) be viewed as a plagal cadence?

Strictly speaking, there is only one type of plagal cadence: IV (or iv) moving to I (or i). However, the cadence in question does have important features in common with a plagal cadence. Like a ...
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0 votes

Chord progression question

I have a slightly different way to look at this. It's D - E - F#, with F# being the tonal center, and the relevant trick that makes this interesting is alternating between F# major and F# minor sounds....
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overtake a voice(part), unexplained chord progression,

1. Voice crossing The general rule is that one should not have voices cross: an upper voice moving below a lower voice, or a lower voice moving higher than an upper voice. The reason for the rule, is ...
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2 votes

Does a I V bVII V (F C Eb C) work? And if so, why?

Does it work? What does 'work' mean? Were Bach or Mozart to have written a piece using that change of harmony, maybe it wouldn't have 'worked'. Using it in a piece of modern pop or Blues especially, ...
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5 votes

Chord progression question

Call that F♯maj7 rather than G♭maj7 and it starts to make more sense! I'm hearing F♯ as the tonal centre. It's not a functional progression. Just F♯maj7 approached by a couple of similar-shaped ...
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