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I–V–vi–IV chord progression in C Play ⓘ. vi–IV–I–V chord progression in C Play ⓘ. The I–V–vi–IV progression is a common chord progression popular across several genres of music. It uses the I, V, vi, and IV chords of a musical scale. For example, in the key of C major, this progression would be C–G–Am–F. [1 ...
It involves the seventh chords of IV, V, and iii, along with a vi chord; for example, in the key of C major, this would be: F M7 –G 7 –Em 7 –Am. [3] [2] [4]. The chord progression may be resolved with the tonic chord, for example in a IV M7 –V 7 –I or a ii 7 –V 7 –I progression. [3]
The song is played in the key of E major at a tempo of 118 beats per minute. The vocal range is E 4 –C# 5 . [ 7 ] The chord progression, played by the piano in the introduction and continued throughout most of the song, is eight chords long, following a I–V–vi–IV – I – V – iii – IV progression.
The final mix was completed by Lanois and the Edge in a home studio set up at Melbeach, a house purchased by the Edge. They mixed it on top of a previous Steve Lillywhite mix, which gave the song a phasing sound. [6] The final version of the song is composed in the key of D-flat major. [10]
"Beautiful Day" is played at a tempo of 136 beats per minute in a 4 4 time signature. [8] The song opens with a reverberating electric piano playing over a string synthesiser, introducing the chord progression of A–Bm 7 –D–G–D 9 –A. [9] This progression continues throughout the verses and chorus, the changes not always one to a bar. [9]
Secondary chords are a type of altered or borrowed chord, chords that are not part of the music piece's key. They are the most common sort of altered chord in tonal music. [ 2 ] Secondary chords are referred to by the function they have and the key or chord in which they function. Conventionally, they are written with the notation " function ...
Hill Street Blues (theme) " Hill Street Blues " is a 1981 instrumental by Mike Post. It is the theme from the TV series Hill Street Blues, and features Larry Carlton on guitar. The single spent over five months on the charts and reached number 10 on the U.S. Billboard Hot 100. It became an Adult Contemporary hit in the U.S.
In the 1950s a medley of the song and George Duning's "Theme from Picnic ", orchestrated by Johnny Warrington (1911–1978), became quite popular, especially in an instrumental recording by Morris Stoloff, conductor of the film version by the Columbia Pictures Orchestra. Duning wrote the film's theme to counterpoint "Moonglow".