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Key Takeaways. I, IV, V, and vi are the most common harmonies in pop music, and they can be arranged into several schemas, each with a distinct sound. Each schema can have variations, such as chord substitution or rotation, while still remaining recognizable as that schema. The doo-wop schema is I–vi–IV–V, and it was common in 1960s pop ...
- Megan Lavengood, Bryn Hughes
- 2021
Pop harmony can be understood through harmonic schemas—particularly common chord progressions. These schemas can be altered while still maintaining their resemblance to the prototype. There are a number of common stock chord progressions that recur in many pop/rock songs.
- Bryn Hughes, Megan Lavengood
- 2021
This layered approach to composition is an important structural feature of pop music, deserving of close analytical attention. Allan Moore (2012) observes that traditional terms for describing texture (homophony, heterophony, polyphony, monophony) were developed to describe classical music, and do not offer much insight when applied to pop music.
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Oct 23, 2018 · Although some songs were very simple harmonically (1965 and 1969), others used a wide selection of chords (1973 and 1970). Perhaps the most interesting aspect that emerged was a separate harmonic vocabulary and system of functional harmony in pop music.
One key difference between rock and classical harmony is that chords in pop/rock music are almost always root-position triads or seventh chords. This affects the “rules” of harmonic syntax, as 6/3 chords in classical progressions are replaced by 5/3 chords in pop/rock progressions.
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One key difference between rock and classical harmony is that chords in pop/rock music are almost always root-position triads or seventh chords. This affects the “rules” of harmonic syntax, as 6/3 chords in classical progressions are replaced by 5/3 chords in pop/rock progressions.
