Harmony and chord progressions in pop music are often "that of classical European tonality, only more simple-minded."Winkler, Peter (1978). "Toward a theory of pop harmony", In Theory Only, 4, pp. 3–26. Clichés include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony.Sargeant, p. 198. cited in Winkler (1978), p. 4. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.Winkler (1978), p. 22.
Harmony and chord progressions in pop music are often "that of classical European tonality, only more simple-minded."Winkler, Peter (1978). "Toward a theory of pop harmony", In Theory Only, 4 pp. 3–26. Clichés include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony.Sargeant, p. 198. cited in Winkler (1978), p. 4. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.Winkler (1978), p. 22.