In music, I–IV–V–I or IV–V–I is a chord progression and cadence that, "unequivocally defines the point of origin and the total system, the key."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. . Composers often begin pieces with this progression as an exposition of the tonality:
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]." In the key of C, IV provides the note F and eliminates the possibility of G major, which requires F. The progression is also often used at the end of works and sections.
A popular variant is vi–IV–V–I, commonly known as the , namesake of Tetsuya Komuro who popularised the progression.
See also Predominant chord Three-chord song V–IV–I turnaround ii–V–I progression Ragtime progression
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