Music Theory for the 21st-Century Classroom

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

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

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

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

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

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.