bVI resolving to I

  1. Its not really a resolution but you might actually see loops of chords that yes end in this chord and then go to the I degree.

  2. I want to mention that Ab7-C, with C being in the second inversion as a 6/4 suspension to G major (V of C) is a very common cadential ploy in which the Ab7 is actually a German augmented sixth chord. It’s one of the most emotionally striking progressions out there imo.

  3. This. Depending on the related scale you’re using for the Ab chord, it could functionally be the same as a iv chord. In C, Ab Lydian (Ab maj) would offer the same sound as F Dorian (F-), which is a more common functional resolution to C.

  4. Happens a lot in the last movement of Respighi’s Fountains of Rome…especially that bit where the woodwinds have that descending chromatic line

  5. That's a wonderful chord relationship, and there are lots of great examples of it. One of my favorites is near the very end of Pink Floyd's "Eclipse," which closes off Dark Side of the Moon.

  6. Independence Day by Elliot Smith is a great song that uses this resolution. Tonality is C major, it starts with C-Eb7/Bb-Ab-C7/G-F-C/G-Ab-C

  7. Hovhaness uses it a lot; I'm thinking particularly of Mysterious Mountain because I know it really well. I love how the 3 movements resolve to the same A chord in the same voicing, but with 3 different cadences. Plus there's an awesome double fugue!

  8. Very common in film scoring. In the “Love Theme Overture,” from the original “Star Trek the Motion Picture,” Jerry Goldsmith uses A Major and F Major as the main chords in the opening. I don’t know if you’re into that style of music at all but I wrote an episode on my channel all about that theme. : )

  9. I’m pretty sure Howard Shore uses this progression in the lord of the rings soundtrack especially with the elves

  10. Yeah I’ve been noticing this one lately. Happens in the jazz standard Why Can’t We Be Friends. Also in Its my Party I can cry if I want to.

  11. I wouldn't say it's especially common, but, yeah, I love it too. I took up songwriting and super-basic piano as pandemic hobbies, and before I really understood Roman numeral analysis I stumbled across G-> E♭-> G -> E♭ and wrote a song that had verses that meander around in G Major (touches all the diatonics except the diminished F#; it's supposed to be smooth, so I put D/F# in there instead) but a chorus where I just kept hitting G -> E♭ hard. Now I have a name for it, which is, well, bVI resolving to I.

  12. It is one of the four chromatic mediant chords and was vogue in the late 19th century (Wagner, et al). And has been pointed out alive and well in John Williams’ scores

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