Hit the road Jack!

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Cites John G · 2012-12 · Music: Practice & Theory Stack Exchange · on “"Andalusian cadences": How are they commonly heard?”

The "Andalusian cadence" I-bVII-bVI-V is commonly heard as a repeated figure in Flamenco music as well as many pop songs, e.g. "Hit the Road, Jack": In trying to think about how this cadence is typically perceived by the listener, classical music theory seems to give (at least?) two possibilities: It is a perfect cadence: the V-chord at the end is heard to continually resolve into the tonic I at each repetition. It is a half cadence: the I-chord at the beginning is heard to continually tense into the V-chord at the end, which then hangs there unresolved. Generally I've been impressed by how much of pop music harmony can be understood by thinking in terms of perfect cadences (a V-I which ends

Cites NReilingh · 2013-01 · Music: Practice & Theory Stack Exchange · on “Can a song in one key contain major chords that are not in the key? Or does that change the key?”

Almost all of American popular music traces its lineage through the blues at its core--that's not to say there weren't new innovations that happened in rock and roll, but there's a pretty strong consensus that rock and roll is descended from the blues. Hit the Road, Jack [this video] might be a good example of a common ancestor that uses a `i - bVII - bVI - V` progression.

Cites jdjazz · 2017-06 · Music: Practice & Theory Stack Exchange · on “Harmonic progressions that contain a C7 followed by a B♭13?”

Answer: Given that you've asked for examples of chord progressions, here are four different chord progressions that use C7–B♭7 , with some examples from jazz/blues songs: use C7–B♭7 as I–♭VII in the key of C7 use C7–B♭7 as ♭VII–♭VI in the key of D min use C7–B♭7 as ♭III–♭II in the key of A min use C7–B♭7 as V–IV in the key of F Some illustrative songs: Progression 1 ( I–♭VII ) can be found in Killer Joe ( here [LINK] and here [LINK] ): measures 1-8 Progression 1 ( I–♭VII ) can be found in Doxy ( here [LINK] and here [LINK] ): measure 1 Progression 2 ( ♭VII–♭VI ) can be found in Hit the Road Jack ( here [LINK] and here [this video] ): measures 1-2 Progression 4 ( V–IV ) can be found in an F Blues

Cites Richard · 2018-05 · Music: Practice & Theory Stack Exchange · on “Why does this chord progression work?”

It probably sounds good for reasons other than music theory: you recognize it from all kinds of songs, including "Hit the Road Jack." [this video] Your progression is the same, you just added a 9th in the first chord and a 6th in the third chord. This particular progression is an example of what we call the lament bass [LINK] . Also called a "step-descent bass," it's exactly what it sounds like: a bassline that moves down by step. Your progression is an embellished i–♭VII–♭VI–V, which is a very common lament bass progression. So common, in fact, it has its own name: the Andalusian cadence [LINK] . As for your added notes, note that they are chord tones of the next chord: The add9 above D (E) is i