9.8: The i–VII–VI–VII Progression

9.8 The i–VII–VI–VII Progression

🔗

The ii–VIIVII–VIVI–VIIVII (AmAm–GG–FF–GG) progression is similar to the descending 1^ –♭7^ –♭6^ –5^bass line of the “Andalusian progression” (AmAm–GG–FF–EE) in flamenco music, with the exception of the last bass note or chord.

🔗

Here are examples of the ii–VIIVII–VIVI–VIIVII progression.

🔗

🔗 Figure 9.8.1. Jimmy Page and Robert Plant, “Stairway to Heaven” (chords and bass line only) (1970)

🔗

🔗 Figure 9.8.2. Adele Adkins and Paul Epworth, “Rolling In The Deep” (chords and bass line only) (2010)

🔗

The ii–VIIVII–VIVI–VIIVII progression can also be rotated to become VIVI–VIIVII–ii–VIIVII.

🔗

🔗 Figure 9.8.3. The ii–VIIVII–VIVI–VIIVII progression rotating to VIVI–VIIVII–ii–VIIVII

🔗

In some cases, the fourth chord is eliminated. In that case, VIVI–VIIVII–ii–VIIVII becomes VIVI–VIIVII–ii–ii, as in the following examples.

🔗

🔗 Figure 9.8.4. Christopher Bridges, Calvin Broadus, Johnny Mollings, Lenny Mollings, William Roberts II, “All I Do Is Win” (chords and bass line) (2010)

🔗

🔗 Figure 9.8.5. Philip Glass, Metamorphosis Two (1989)

🔗

The ii–VIIVII–VIVI–VIIVII progression can also be thought of as being in a major key: vivi–VV–IVIV–VV.

🔗

🔗 Figure 9.8.6. The same progression viewed from minor and relative major

🔗

There are several more common harmonic progressions to explore in future chapters dealing with topics like secondary chords, mode mixture, the Neapolitan chord, augmented sixth chords, and jazz harmony.