## Section9.8The i–VII–VI–VII Progression

The $\left.\text{i}\right.$–$\left.\text{VII}\right.$–$\left.\text{VI}\right.$–$\left.\text{VII}\right.$ ($\left.\text{A}\text{m}\right.$–$\left.\text{G}\right.$–$\left.\text{F}\right.$–$\left.\text{G}\right.$) progression is similar to the descending $\hat{1}$ –♭$\hat{7}$ –♭$\hat{6}$ –$\hat{5}$ bass line of the “Andalusian progression” ($\left.\text{A}\text{m}\right.$–$\left.\text{G}\right.$–$\left.\text{F}\right.$–$\left.\text{E}\right.$) in flamenco music, with the exception of the last bass note or chord.

Here are examples of the $\left.\text{i}\right.$–$\left.\text{VII}\right.$–$\left.\text{VI}\right.$–$\left.\text{VII}\right.$ progression.

The $\left.\text{i}\right.$–$\left.\text{VII}\right.$–$\left.\text{VI}\right.$–$\left.\text{VII}\right.$ progression can also be rotated to become $\left.\text{VI}\right.$–$\left.\text{VII}\right.$–$\left.\text{i}\right.$–$\left.\text{VII}\right.$.

In some cases, the fourth chord is eliminated. In that case, $\left.\text{VI}\right.$–$\left.\text{VII}\right.$–$\left.\text{i}\right.$–$\left.\text{VII}\right.$ becomes $\left.\text{VI}\right.$–$\left.\text{VII}\right.$–$\left.\text{i}\right.$–$\left.\text{i}\right.$, as in the following examples.

The $\left.\text{i}\right.$–$\left.\text{VII}\right.$–$\left.\text{VI}\right.$–$\left.\text{VII}\right.$ progression can also be thought of as being in a major key: $\left.\text{vi}\right.$–$\left.\text{V}\right.$–$\left.\text{IV}\right.$–$\left.\text{V}\right.$.

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.