Occasionally, it's played starting with the subdominant major key: IV-I-V-vi, (or VI-III-VII-i relative to the minor), though this variation is less common than the tonic major and submediant minor versions. If we play them in a different order, vi-IV-I-V (A minor, F major, C major, G major), the progression sounds to be in the relative minor key (the key whose home note starts on the sixth note of its relative major key), in which case we notate it as i-VI-III-VII. In a major key, this progression is I-V-vi-IV. Very often, this progression is used as an ostinato-a repeated pattern that occurs throughout a song (or a part of it). If this progression loops back to I, this effectively produces a Plagal Cadence. If you don't know Roman analysis, check out this video, or play these chords on a piano: C major, G major, A minor, F major. The Roman numerals above represent a sequence of four chords. Jazz players often make the IV chord a Dominant 7 chord and use a minor chord built on the second note of the scale giving this variant: I-VI7-ii7-V7. Pachelbel's Canon is a variant of this progression, known as "Pachelbel's Canon" Progression. Actually Older Than They Think - this progression is already known in the Baroque music. This particular ordering of them, the "pop punk progression" as Wikipedia calls it, was spawned as a variant of the Doo-Wop Progression, and has been particularly popular from the 1990s to the present day. There's just something about these four chords that makes for a catchy tune in western pop music, transcending the boundaries of genre, and work in a song with any mood or tempo. Porcupine Tree, "Four Chords That Made a Million"
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