Humoresque Progression: Difference between revisions
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A [[Chord Progression]], made famous by [[Antonin Dvorak]]'s piano solo piece "Humoresque", in which this features in the middle section.
The original progression is in a [[Tonality|minor key]], and runs as follows: i VI VII III. The effect is a temporary toniciziation of the relative major
However, that may be hard to distinguish from its relative major key, and would in fact count as vi IV V I if in major, making this a variant of [[The Four Chords of Pop]]. In this case, this functions as a derivative of the [[Authentic Cadence]] (V I). And again, it tends to be repeated a lot...often using the same transition chord, too (iii, which is the same as v in the relative minor).
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This list contains both relative minor (i VI VII III) and relative major (vi IV V I) examples.
* The trope namer is Dvořák's "Humoresque" #7 in G flat major. [http://www.youtube.com/watch?v=WmAZoexenx8#t=1m19s This link] goes to the middle section of the piece, where it most famously appears.
* Briefly in the first movement of [[Ludwig Van Beethoven]]'s [[Beethoven Violin Concerto|violin concerto]], when the [[Sonata Form|second theme]] temporarily goes to minor.
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* The chorus of [[Bon Jovi]]'s "Livin' on a Prayer".
* Near the end of the first boss battle theme of the ''[[Magic Knight Rayearth]]'' [[SNES]] RPG.
* In the ''[[Rockman Dash]]'' (i.e. ''[[Mega Man Legends]]'') soundtrack, the insert song "Your Wind is Blowing", combines the
* The first half of the verse of "Time After Time" by [[Mai Kuraki]].
* The beginning of the verse of "Take a Shot" from ''[[Magical Girl Lyrical Nanoha]]''.
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* The beginning of the title theme of ''[[Monster Tale]]'', though it uses a major I chord rather than a minor i chord as is standard (Amaj Fmaj Gmaj Cmaj, rather than Amin Fmaj Gmaj Cmaj).
* "So Serious" by [[Electric Light Orchestra]]: chorus
* [[apple 41]]: "[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]", composed for [[Vocaloid]] Miku Hatsune: intro and chorus
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