50s progression

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.
'50s progression in C, ending with C (
It has also been called the "Heart and Soul" chords, the "Stand by Me" Play )
changes,[1][2] the doo-wop progression[3]:204 and, according to Mike
Aquino and Hank Green, the "ice cream changes".[4] 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.

Contents
Theory
Variations
Examples in popular music
Examples in classical music
See also
Sources

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 thetonic or I chord; following thecircle 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 progressionI–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. This is also similar to theI–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 ( Play ),
four ( Play ) (full measure or bar), eight ( Play ) (two
measures), and eight beats per chord except for IV and V(7) which
get four each ( Play ).[3]:206

"Sleep Walk" by Santo & Johnny uses a similar progression, with 50s progression in C variation, ending with C
the IV replaced by its parallel minor iv for an overall progression ( Play )
of I–vi–iv–V.

Examples in popular music

Well-known examples include the Penguins' "Earth Angel" (1954),
"Earth Angel"
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 0:00

other doo-wop material of the era.[7] A modern example can be found Excerpt from the Penguins's "Earth
in Green Day's "Jesus of Suburbia".[8] Many more recent examples Angel"
exist, such as Neutral Milk Hotel's "In the Aeroplane over the Sea"..
The progression is also the basis for the verses of The Bangles' 1989 Problems playing this file? See media help.
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" and
Rebecca Black's "Friday".[11][12][13] and Ed Sheeran's song, "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.( example ).

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]

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).

Hank Green of the Vlogbrothers created a song showing the number of songs featuring the progression, including one of his own. It
was featured in one of his videos and was also performed at the Evening of wesome.
A [16]

The 50s progression is also commonly used in reggae, including Bob Marley’s “Stir It Up,” “Brand New Second Hand” and
“Rocksteady.”

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 Dietrich Buxtehude’s
setting of Psalm 42, Quem admodum desiderat cervus, BuxWV 92:

0:00

Buxtehude, Psalm 42 "Quem ad

modum desiderat cervis"
 Buxtehude, Psalm 42 "Quem ad modum desiderat cervis"

The opening of J.S.Bach’s Cantata ‘Wachet Auf’:

0:00

J. S. Bach Cantata BWV140,

orchestral introduction to the opening
chorus

J. S. Bach Cantata BWV140, orchestral introduction to the opening chorus

The progression is found frequently in works by Mozart, such as hisA minor Piano Sonata:

0:00

Mozart, from Piano Sonata K310,

first movement
 Mozart, from first movement of Piano Sonata in A minor K310

The opening of his Piano Concerto 22, K482extends the progression in a particularly subtle way
, making use of suspensions:

0:00

Mozart Piano Concerto K482,

opening bars

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
[17]
obvious, but what could have occurred to nobody else."

See also
List of songs containing the 50s progression
Chord progression
Doo-wop
Pachelbel's Canon
I–V–vi–IV progression
Roman numeral analysis

Sources
1. Moore, Allan (May 1995). "The So-Called 'Flattened Seventh' in Rock".
Popular Music. Cambridge University Press.
14 (2): 185–201. doi:10.1017/s0261143000007431(https://doi.org/10.1017%2Fs0261143000007431) . ISSN 0261-
1430 (https://www.worldcat.org/issn/0261-1430).
2. Cole, Clay (2009). Sh-Boom!: The Explosion of Rock 'n' Roll (1953–1968)
. Garden City, NY: Morgan James. p. 56.
ISBN 1-60037-638-X.
3. Scott, Richard (2003).Chord Progressions for Songwriters. New York: Writers Club Press. ISBN 0-595-26384-4.
 4. Austin, D.; Peterik, J.; Lynn, C. (2010). Songwriting For Dummies(https://books.google.com/books?id=v868l_IRu8Q
C&pg=PA189). Wiley. p. 189. ISBN 978-0-470-89041-7. Retrieved March 2, 2015.
5. Bennett, Dan (2008). The Total Rock Bassist. Van Nuys, CA: Alfred Publishing. p. 62.ISBN 0-7390-5269-1.
6. Harwood, Dane (September 1982). "Review: [untitled]".Ethnomusicology. University of Illinois Press on behalf of
Society for Ethnomusicology. 26 (3): 491–493. ISSN 0014-1836 (https://www.worldcat.org/issn/0014-1836).
7. Guralnick, Peter (2005).Dream Boogie: The Triumph of Sam Cooke. New York: Little, Brown. p. 157.ISBN 0-316-
37794-5.
8. "Acoustic Lesson 11B: Basic Chord Progressions"(https://web.archive.org/web/20121130142947/http://www .guitarle
ssoninsider.com/acoustic/lesson-11b-basic-chord-progressions.html). GuitarLessonInsider.com. Archived from the
original (http://www.guitarlessoninsider.com/acoustic/lesson-11b-basic-chord-progressions.html)on November 30,
2012. Retrieved November 4, 2012.
9. "Atomic Kitten. "Eternal Flame" (http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0053691&).
MusicNotes.com.
10. "True Blue" (http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0060333&). MusicNotes.com. (Subscription
required (help)).
11. "What About Now" (http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0064708&). MusicNotes.com.
(Subscription required (help)).
12. "Beautiful Girls" (http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0059262&). MusicNotes.com.
(Subscription required (help)).
13. "Baby" (http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0082601&). MusicNotes.com. (Subscription
required (help)).
14. Everett, Walter (1986). "Fantastic Remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia ' ". The
Musical Quarterly. Oxford University Press.72 (3): 360–393 [372]. doi:10.1093/mq/lxxii.3.360(https://doi.org/10.109
3%2Fmq%2Flxxii.3.360). ISSN 0027-4631 (https://www.worldcat.org/issn/0027-4631).
15. Riley, Tim (2002). Tell Me Why: The Beatles: Album by Album,Song by Song, the Sixties and After. Cambridge, MA:
Da Capo Press. p. 269.ISBN 0-306-81120-0.
16. vlogbrothers (30 March 2011).The Ice Cream Changes(https://www.youtube.com/watch?v=F4ALd-Top2A) (Web
video). Retrieved 21 July 2015.
17. Blom, E. (1935, p.227)Mozart. London, Dent.

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