Line #22 Main/FallingBass


1	An element present in some [[ClassicalMusic classical]] and popular music pieces is wherein the bass line (the lowest line of notes, usually played by the bass guitar, the string basses, or the left hand of a keyboardist) slowly descends.
2
3	Often used as a type of {{ostinato}}—i.e., as a repeated figure against which other music is set, such as a varying {{melody}} line.
4
5	There are two versions:
6	* ''Diatonic'': along the scale in the key of the music. Usually, this starts on "do", so we're talking "do, ti, la, so, etc." in the bass line.
7	* ''Chromatic'': along the chromatic scale (i.e., including the notes between ti and la, la and so, etc.) from the home note of the [[{{tonality}} key]] to some other note. Usually, it goes down to the fifth scale degree (i.e. "so").
8
9	In both cases, there are usually a standard {{Chord Progression}}s that go along with such sequences.
10	* For diatonic sequences: [=I, V6, vi, V or iii6, IV, I6, ii, V=] in a major key, and [=i, VII or v6, VI, v or III6, iv, I6, ii° or ii or II, V=], possibly with [[{{harmony}} sevenths]] on the chords. Note that this is actually ''very'' close to the PachelbelsCanonProgression, which may have evolved from it. The bass line goes "do, ti, la, so, fa, mi, re, so"; yes, the last note isn't quite "falling", but that's how it usually works.
11	** The so-called "Andalusian cadence" goes i-VII-VI-V.
12	* For chromatic sequences: [=I, V6, Ib7 or bVII, IV6, iv6, and I64 or V=] in major keys, substitute i for I and the last chord could also be [=III6=] in minor keys (where the iv6 may also be replaced with an [[https://en.wikipedia.org/wiki/Augmented_sixth_chord augmented sixth chord]]). In pop chord notation, in the key of C major, that would be [=C, G/B, C7/Bb; or Bb, F/A, Fm/Ab, C/G or G=]. You can see the bottom note going [=C-B-Bb-A-Ab-G=]; that's the essence of this trope. After hitting the fifth scale degree ("so"), other bass motion usually happens, but it's usually chromatic down to the "so". Back in the ''{{Baroque\|Music}}'' era, the chromatic Falling Bass was often used to depict (and interpreted as depicting) suffering. But back then, and during the ClassicalEra and RomanticEra, another progression for this same bass line was popular, which involved a lot of {{diminished seventh}} chords.
13	** The chromatic version of Andalusian cadence goes i-VII-VI-V
14
15	No, it's not [[{{Pun}} an instrument dropped out a 10-story window]]. That would just be "[[NotTheFallThatKillsYou crashing bass]]".
16
17	This also has [[JustForFun/IThoughtItMeant nothing]] to do with [[{{Dubstep}} "dropping the bass"]].
18
19	''It is requested that you add examples in chronological order.''
20	----
21	!!Diatonic examples:
22
23	* The second movement of Music/JohannSebastianBach's "Suite No. 3 in D major" (better known as "Air on the G String") begins with one.
24	* The Ventures's ''Walk Don't Run'' follows the Andalusian cadence i-VII-VI-V
25	* Procol Harum's "A Whiter Shade of Pale"
26	* Music/TheZombies' "Care of Cell 44": The verses alternate between the standard progression ([=I, V6, vi, V, IV, I6, ii, V=]) and a subversion ([=I, V6, ♭III4, ii7, V, V7=]). The chorus also uses a descending pattern played under the [=vi=] and [=V=] chords.
27	* Music/JohnLennon, "Mind Games"
28	* Music/JimCroce's "Time in a Bottle" features three different variations of the Falling Bass. The first line of the verse is chromatic: D-C#-C-B-Bb-A. The second line switches to a minor diatonic scale: D-C-Bb-A-G-F. The chorus then runs the complete major diatonic scale: D-C#-B-A-G-F#-E
29	* Music/{{Queen}}: a lot of their songs feature bass going progressively downward from root to seventh to sixth in an I-V-vi progression. See Bohemian Rhapsody, the ballad section, for an example of this.
30	* Music/BillyJoel, "Piano Man". [=I, V6, IV6, I64, IV, I6, II7, V=] in C major.
31	* ''Franchise/MegaMan'':
32	** The first Wily Fortress theme in ''VideoGame/MegaMan1'' uses the Andalusian cadence in F♯ minor.
33	** The B-section of "Wily Fortress 2" from ''VideoGame/MegaMan3'': Bm, D/A, Em/G, Bm/F♯, F♯.
34	** The intro to ''VideoGame/MegaMan4'' has basically this sequence, except that the sixth note is not scale degree 3 but scale degree 1.
35	** The main melody of Cloud Man's theme in ''VideoGame/MegaMan7'' uses A♭, G♭9, F♭, E♭.
36	** In ''VideoGame/MegaManZX'', "[[https://www.youtube.com/watch?v=Nt1pIjvKhuI En-trance Code]]", the music in trans server rooms, starts with this sequence, in C minor.
37	* "The Man I Love" by George and Ira Gershwin begins with a variation: [=I, i, v6, VI7=].
38	* ''Franchise/TheLegendOfZelda'':
39	** The main theme ([=B♭, A♭add6, G♭, D♭, C♭, B♭m, C, F7=]) of the series
40	** The Fairy Fountain theme ([=B♭maj7, Fmaj9/A, Gm7, Dm9/F, then B♭maj7, A°9, Gm11, Fmaj7=]) in ''VideoGame/TheLegendOfZeldaALinkToThePast'' and subsequent games.
41	** Also in ''ALTTP'', the first (Cm/G, F, A♭maj7/E♭, B♭/D, Cm) and second (E♭/B♭, F/A, A♭maj7/G, B♭/F, followed by E♭/B♭, F/A, G°7, D/F♯) sections of the DarkWorld theme.
42	** The [[https://www.youtube.com/watch?v=nyGVXAXxmBA Final Hours]] theme from ''VideoGame/TheLegendOfZeldaMajorasMask'' uses Gm, F, E♭6, D7 and Gm, F, E♭maj7, [=D7sus4=], D.
43	* Music/JeanMichelJarre's ''Music/{{Oxygene}} [[https://youtu.be/71DOHvfFDBY Part 1]]'' starts with a variation of the Andalusian cadence (i, vii, iv, V), then switches to a full diatonic minor scale. "Oxygène 8" uses i, VII, iv6, i4, along with the traditional Andalusian variant i, VII, VI, V.
44	* The first half of [[https://www.youtube.com/watch?v=cGTfY18bdCc Marian's Theme]] (second is a PachelbelsCanonProgression variant) from ''VideoGame/DoubleDragonNeon'': [=I-V-IV-III7-vi7-IVmaj7-ii7-Imaj11=].
45	* ''VideoGame/{{Ikaruga}}'' uses this in its main theme, "Ideal", whose intro is similar to the aforementioned ''The Legend of Zelda'' theme.
46	* ''WesternAnimation/TheLittleMermaid1989'':
47	** The chorus of "Part of Your World" uses a diatonic progression in F major, albeit starting on the third scale degree (I6, V4, [=IV4sus2=], V6, vi, iii6, ii6, V), followed by a partially chromatic variant(I, I7/4/2, vi7, iv, I4, V7/4/2, I).
48	** "Tour of the Kingdom" features a repeating four-note cadence.
49	** The chorus of "Her Voice" from the ScreenToStageAdaptation follows the D major scale for its first phrase, then deviates a bit for its second and third phrases.
50	* In ''VideoGame/FarCry3BloodDragon'', "Death of a Cyborg" and its reprise "Resurrection" use a relatively uncommon variation on the A Dorian scale: [=Am, Em/G, F♯7, Bm/D, Am/C, Em/B, F♯sus4/B, F♯/A♯=].
51	* Victoria Celestine uses C, Em/B, Am, G in the chorus of "Can You Hear The Echo?"; and G, D/F♯, Em, D, C, D in the verses of "Here I Am".
52	* The Moon theme in ''VideoGame/DuckTales'' has two variations: The intro and second phrase of the A-section start with a G Mixolydian scale but switch to chromatic on the fourth note, while the first half of the A-section uses a G major scale down to C with a turnaround via C♯°.
53	* ''VideoGame/BionicCommando Rearmed'' features the Andalusian cadence in it's arrangement of the series theme, and it also appears in the Neutral Zone theme of both this version and the NES original.
54	* ''Franchise/SonicTheHedgehog'' series:
55	** In ''VideoGame/SonicTheHedgehog1'', Green Hill Zone has F, Em, Dm, C (F Lydian scale) in its A-section.
56	** The A-section of the Bridge Zone theme from ''VideoGame/SonicTheHedgehog18Bit'' uses the full diatonic scale progression in F major.
57	** Star Light Zone runs down the C Mixolydian scale with the chords C, [=Gm6=]/B♭, A, Dm, [=Dm6=]/A, G7, Fm, C/E, G/D.
58	** Scrap Brain Zone has the Andalusian cadence for its A-section and C, G♭/B♭, [=Fmaj7=]/A, G for its B-section.
59	** Sky Sanctuary Zone from ''VideoGame/Sonic3AndKnuckles'' has a variant similar to the beginning of the ''VideoGame/DuckTales'' Moon theme: I, ♭VII, IV, ♭VI.
60	* In ''VideoGame/{{Celeste}}'', the first half of "Resurrections" uses a modified Andalusian cadence: Am♯7, C/G, Fmaj7, E. The ending theme, "Exhale", has a partially chromatic variation in the form of C, B♭, Am, A♭, G.
61	* Music/{{AURORA\|Singer}}'s "It Happened Quiet" uses Em-D-C6-Bm in the first half of the chorus, while the second half subverts this trope with G-Bm/F♯-Em-[=Am6=]/C-D7.
62	* "When I Grow Up" from ''Theatre/{{Matilda}}'' has a few variations on this: F/C, C, B♭, B♭m, F/A, C/G, B♭/F in the A-section, and B♭sus2, F/A, Gm, F followed by B♭sus2, Am, Gm, C7/E, A7♭9/E, [=Dm11=], B♭maj7/D in the B-section.
63	* In the ''Franchise/SilentHill'' series, the TearJerker pieces "Not Tomorrow" from the [[VideoGame/SilentHill1 first game]] and "Theme of Laura Reprise" from the [[VideoGame/SilentHill2 second]] both use variations of the Andalusian cadence: Gm, B♭/F, E♭maj7, D in the former, and Dm, C6, B♭, A7 in the latter.
64	* The [[https://www.youtube.com/watch?v=_agZAk8Xcxc main theme]] of ''VideoGame/TheAdventuresOfRadGravity'' has F, Em, Dm, C, B°, Am, G during the B-section, and a C minor Andalusian cadence during the C-section.
65	* Trance duo Rank 1 use i, v6, VI, v, iv, i6, [=VI4=], [=VII4=] in "Such is Life", and iv, i6, ♭II, i, [=VImaj7=], v7, [=IVsus2=], I6 in the third and fourth phrases of "Symsonic".
66	* Regard's version of "Ride It" uses a quasi-Andalusian cadence in the form of Gm, F6, E♭maj7, [=Dm=]. The original song by Jay Sean, however, did not use this progression.
67	* [[https://youtu.be/PrQQ5_4Wl1I?t=36s See You Again]] from ''[[VideoGame/{{Ys}} Ys I and II]]'' uses C, Em/B, Am, C/G, F, Em, Dm, G, followed by C, Em/B, Am, C/G, F, Fm, Am/E, G/D.
68	* Music/{{M83}}'s [[https://youtu.be/ofnYWPZ9qsA "Lune de fiel"]] has a home key of G minor but the bass line follows the A♭ scale with a F♯ note added: Gm, D/F♯, Fm, E♭, D♭, A♭/C, D7/C.
69	* The verses of Music/{{The Cure\|Band}}'s "Lovesong" use Am, G, Fmaj7, Em7.
70	* The tag (post-chorus) of Music/DeadOrAlive's "You Spin Me Round" uses the Andalusian cadence plus a iv chord.
71	* The chorus section of "[[https://youtu.be/d7kVi_WCB2w?t=1m17s Vanishing Dream~Lost Dream]]" from ''VideoGame/TouhouYumejikuuPhantasmagoriaOfDimDream'' starts with the Andalusian cadence in C minor, then continues descending in F minor for the next four chords.
72	* Jigsaw's "Sky High" has I, V6, [=IV6=], iv6, I4, V, IV, iv, ♭[=VI4=], during the chorus.
73	* The original mix of Ayla's self-titled single uses the Andalusian cadence, while the DJ Taucher mix and subsequent remixes use vi, [=Vadd6=], [=IVmaj7=], V9(or in the Veracocha mix, ii). "Into the Light" also uses an Andalusian variant: vi, [=IV6add9=], V, iii6, IV, ii6, [=III7=],III.
74	* Brainchild's "[[https://youtu.be/SLvV-4jXEIA Symmetry (P Mix)]], and by extension DJ Tandu/Ayla's cover version "Singularity (Brainchild II)", initially follows the Andalusian cadence, then climbs back up to the home note: Em, D, C, B, C, D, Esus4.
75	* "Hit The Road, Jack" by Music/RayCharles & The Raelettes is perhaps the best known usage of the Andalusian cadence in popular music.
76	* The B-section of Janis Ian's "[[https://youtu.be/TNW5vL_WKok?t=48s At Seventeen]]": E♭, G7/4/3, Cm, A♭6/3(B♭ is skipped), A♭maj7, G7, Cm6/4, F, G.
77	* The A-section of "[[https://youtu.be/Yi8mskCjnI4 Dubious Castle Safety Gigue]]" from ''VideoGame/MystikBelle'' has a cadence similar to the Andalusian, but in Dorian mode: Cm, [=E♭6/4=], [=F6/3=], Gm.
78	* The Eurodance song "Amore" by Uniq follows the Andalusian cadence in C♯ minor.
79	* The finale of Music/JessicaSimpson's "Where You Are" uses a harmonic minor variant of the Andalusian cadence: i, V6/5, VI, V.
80	* The chorus of Sally Shapiro's "Christmas Escape" has a relatively uncommon variation in D Mixolydian: I, [=v6=], [=IV6=], ♭[=III6=].
81	* The first bridge section of Deborah Cox's "I Never Knew" descends the A♭ major scale to C, with all of the chords in root position.
82	* In ''VideoGame/OriAndTheBlindForest'', the main melody of the Sunken Glades/Hollow Grove theme incorporates the Andalusian cadence, but the piece's home mode is Phrygian rather than Aeolian.
83	* The intro of Beethoven's ''Moonlight Sonata'' has i, v6, VI, ♭[=II6=], V7, i4, [=Vsus4=], ♯vii°4.
84	* The A-section of "Sacrifices" from ''VideoGame/ActRaiser'' has a falling bass line on the D minor diatonic scale.
85	* "Who Am I?", "I Dreamed A Dream", and "One Day More" from ''Theatre/LesMiserables'' all share a common major diatonic descending bass line.
86	* The {{Eurobeat}} song "Remember Me" by Clara Moroni as Leslie Parrish uses the standard Andalusian cadence (i-VII-VI-V) during the intro and synthesizer riff, and VI-v-iv7-V during the prechorus.
87	* In ''WesternAnimation/TheTransformersTheMovie'', "Death of Optimus Prime" has a descending [[PlayingTheHeartStrings strings]] cadence when Optimus's vitals {{flatline}} and [[DeathIsGray his colors fade to gray]].
88	----
89	!!Chromatic examples:
90
91	* The example in every music theory student's textbook: the aria "[[https://www.youtube.com/watch?v=Svipj7y2qjI Dido's Lament]]" from HenryPurcell's opera ''DidoAndAeneas''. In G minor.
92	* The "[[https://www.youtube.com/watch?v=lkjQnoYj95w Crucifixus]]" from the "Mass in B minor" by Music/JohannSebastianBach uses this as a four-bar ostinato bass-line pattern, in E minor. This was lifted from the {{cantata}} "Weinen, Klagen, Sorgen, Zagen," which had it in F minor (as do Liszt's variations for piano and organ based on it).
93	* Music/LudwigVanBeethoven's "Waldstein Sonata", at the very beginning of the first movement. In C major.
94	** Beethoven's Variations on an Original Theme in C minor ([=WoO=] 80) makes even more obvious use of this. The theme breaks rhythm dramatically in the sixth bar (of eight) after the chromatically descending progression reaches G.
95	* Music/FryderykChopin's [[https://www.youtube.com/watch?v=HiwPzHJ-Pic Prelude in E minor]] from his set of 24 preludes in each key uses this, though it starts on the third scale degree and has a bunch of unusual chords.
96	* "These Boots Are Made for Walkin'", written by Lee Hazlewood and performed by Music/NancySinatra.
97	** Technically speaking, "These Boots" is a subversion of the chromatic scale because if you listen carefully, upright bass player Chuck Berghofer is playing in microtonal increments that are smaller than semitones; according to [[http://en.wikipedia.org/wiki/These_Boots_Are_Made_for_Walkin%27 the Other Wiki]], Lee Hazlewood specifically asked him to do this.
98	* The verse of Music/TheBeatles' "[[Music/SgtPeppersLonelyHeartsClubBand Lucy In The Sky With Diamonds]]" has a version that skips from the first to the third note in the usual sequence.
99	* The Music/{{Eagles}}' famous song "Hotel California" has an interesting subversion of this: The verse's chord progression is typical of the Falling Bass, but it keeps all the chords in root position. The result is this: [=Bm, F♯, A, E7, G, D, Em, F♯=].
100	** Same with Music/{{Wings}}'s "Mamunia."
101	* ''WesternAnimation/SchoolhouseRock'': "[[https://www.youtube.com/watch?v=Jeq5a8bBh8c Figure Eight]]", the middle major-key section. (Also an example of an A-B-A form song.) This goes down to scale degree two ("re"), giving us [=C, G/B, C7/B♭, F/A, Fm/Ab, C/G, F♯hdim7 (F♯m7♭5), Bdim7/F, C/E, D♯dim7 Dmin7 G7 C=].
102	* The opening theme of ''VideoGame/EarthBoundBeginnings'', "Mother Earth", only uses four steps of the chromatic sequence faithfully, but it's still using the technique for its poignance.
103	* The third opening theme of ''Manga/MagicKnightRayearth'' is similar to HotelCalifornia in that it features a chord progression typical of the Falling Bass but has the chords in root position.
104	* RitsukoOkazaki's song "[[https://www.youtube.com/watch?v=hZnA6e9Rwng fay]]", in the verse. This song is in G major, and the progression is [=G, D/F♯, G7/F, C/E, Cm/E♭, G/D, D=].
105	* The bassline of the "[[https://www.youtube.com/watch?v=lLMvAVyhm0c Alternia]]" theme (see ''{{Webcomic/Homestuck}}'') takes the five incremental half-steps down to ''so'' before taking a half-step up and a whole step up. The composer fully admits to the influence of ''VideoGame/EarthBoundBeginnings'' and ''VideoGame/EarthBound1994'', and this song is likely inspired by the "Mother Earth" theme (search above).
106	* "I Think I Love You" by David Cassidy.
107	* In Antonio Vivaldi's violin concerto "Il piacere" (Op. 8 No. 6), the unison ritornello of the slow movement is a chromatic descent from the tonic to the fifth.
108	* Music/EdvardGrieg's Ballade for piano (Op. 24) doesn't use the standard chord progression, but the bass line of its theme begins by monotonically descending, for eight bars minus an upbeat, from the E-flat above the bass clef to the G below it. The first variation begins similarly.
109	* The in-game theme of ''VideoGame/TransformersConvoyNoNazo'' features a bass line descending from the tonic of C to B to B-flat to A to A♭, but then going back up to C by way of B♭.
110	* Chromatic variant in "Mr. Businessman" by Music/RayStevens: E-[=EMaj7/D♯=]-E7/D-A/C♯-Am/C-E/B-B-[=B♭dim7=]-B/A.
111	* "Can't Take My Eyes Off Of You" by Frankie Valli carries the chromatic progression beyond its usual endpoint for the first strain, but holds the actual bassline on a pedal point.
112	* "Junk" from Music/PaulMcCartney's first album ''Music/McCartney''.
113	* ''VideoGame/{{Celeste}}'' uses this for Badeline's theme, notably the second half of "Resurrections"(the first half uses a diatonic variant, as mentioned above) "Quiet and Falling", and "Reflection". Inverted in the second part of "In the Mirror", which is "Quiet and Falling" [[SubliminalSeduction in reverse]].
114	* "Bills, Bills, Bills" by Music/DestinysChild.
115	* "I Learned From The Best" by Music/WhitneyHouston.
116	* ''VideoGame/TheLegendOfZeldaI'' uses a chromatic descending bassline in its dungeon theme, while ''VideoGame/TheLegendOfZeldaALinkToThePast'' has this in the main phrase of the Light World dungeon theme and the last part of the DarkWorld overworld theme.
117	* The chorus of Music/{{M83}}'s "Oh Yes You're There, Everyday", which was likely inspired by the aforementioned ''Zelda'' dungeon theme, descends the chromatic scale from G to C, with each subsequent repetition [[TruckDriversGearChange modulating down a whole tone]].
118	* The chorus of Army of Lovers' "Crucified".
119	* The NES version of ''VideoGame/BionicCommando'' and its remake have this at the beginning of [[https://youtu.be/yJxqLdQN4hg "Rise of the Albatross"]], the FinalDungeon theme.
120	* The bridge of the Green Hill Zone theme from ''VideoGame/SonicTheHedgehog1'': B♭, Am, A♭, G.
121	* In Future Crew's ''Second Reality'' [[{{Demoscene}} demo]], the music during the [[https://youtu.be/iw17c70uJes?t=8m20s 3D cityscape sequence]], composed by Skaven, has a falling chromatic bass line; but skips a semitone on the fourth chord: B♭m, A°♯3, A♭6, E♭m/G♭. The last cadence at the end of the section switches to a harmonic minor scale: B♭m, A+, F♯°7, F7.
122	* Another Skaven song, [[https://youtu.be/hiBq32RvSR8?t=2m12s "War in the Middle Earth"]], uses the chromatic cadence Gm, F♯+, B♭/F, C/E during the interlude section.
123	* In ''VideoGame/{{Gekirindan}}'', the A-section of the [[https://youtu.be/5kj5lznf9mg Stage 1]] theme follows a full chromatic sequence: Gm, F♯+,B♭/F, C9/E, Cm/E♭, D7.
124	* The main melody of [[https://www.youtube.com/watch?v=MIDkiPAqhhk&t=41s Proto Man's theme]] from ''VideoGame/MegaMan3''.
125	* [[https://youtu.be/6PPui3GfGCY?t=2m25s Over Drive]] from ''[[VideoGame/YsIIAncientYsVanishedTheFinalChapter Ys II]] Eternal/Chronicles'' has a bridge section with this progression. Ditto [[https://youtu.be/X98h0h9vg14 The Five Disciples]] (intro), "[[https://youtu.be/c08MkZsai_A Beyond Reminiscence]]" (coda) and [[https://youtu.be/4HNEPXbNEK4?t=14s Battle 58]] (B-section) from ''[[VideoGame/YsIVMaskOfTheSun Mask of the Sun]]'', ''[[VideoGame/YsIVTheDawnOfYs The Dawn of Ys]]'', and ''[[VideoGame/YsMemoriesOfCelceta Memories of Celceta]]''; and [[https://youtu.be/rJ7hNc_BcHY?t=37s Armored Bane]] from ''VideoGame/YsVITheArkOfNapishtim''.
126	* In ''VideoGame/OriAndTheWillOfTheWisps'', the main melody of [[https://youtu.be/5EQMbyixSyI?t=2m20s Shadows of Mouldwood]] follows a chromatic scale with the chords Cm/G, D/F♯, B♭m/F, C/E, Cm/E♭, G/D, then a C minor diatonic scale with Fm/A♭, G, Cm/G, F°, A♭/E♭, D, G/D.
127	* "If My People Will Pray" by Jimmy Owens
128	* The chorus of "Revolting Children" from ''Theatre/{{Matilda}}: The Musical''.
129	* "[[https://youtu.be/CFWE3WTPCGw?t=2m17s Slowmotion IV]]" by Solarstone & Orkidea.
130	* The verses and part of the chorus of Jeffrey Osborne's "[[https://youtu.be/vFhR2FHKmss On the Wings of Love]]".
131	* ''Vanities: The Musical'':
132	** "[[https://www.youtube.com/watch?v=HqxOJkxDsU0 I Can't Imagine]]" has four variants of this: I4, [=II6=], iv, I6 during the verses and bridge; I, ♭VII, vi°, ♭VI for the first two phrases of the chorus; vi, I4, [=II6=], IV for the third phrase; and ♭VII, vi, ♭VI, V7 for the last.
133	** The verse section of "[[https://youtu.be/DbHP9NtSnB0 Friendship Isn't What It Used to Be]]" descends chromatically for the first five chords, then climbs back to B♭ via F before following the E♭ diatonic scale down to D. The bridge likewise has vi6, V6, I7/4/2, [=IV6=], iv6, i4, [=II6=], [=IVsus2=].
134	* ''VideoGame/MegaMan9'''s [[https://youtu.be/EazDwW8rhXY title theme]].
135	* The beginning of "[[https://youtu.be/AabSr20HuJs What A Horrible Night to Be a Witch]]" from ''VideoGame/MystikBelle''.
136	* In ''VideoGame/Action52'', the middle 8 section of the [[https://youtu.be/WZlYGN5W2Yg?t=1m29s Cheetahmen]] theme chromatically descends via Fm->E+->A♭4->Dø7->D♭maj7->[=Fm4=], then re-ascends via D♭maj7->E♭->C6.
137	* The B-section of "[[https://youtu.be/i2YbwIuhv0E?t=18s Sidecrawler's Dance]]" from ''VideoGame/WonderBoyIIITheDragonsTrap''.
138	* Music/MotleyCrue's "Home Sweet Home" uses a repeating cadence of I->iii4->I4/2->[=IV6=], while the refrain complimentarily has the ascending progression ♭VI->♭VII->I.
139	* The intro of Music/EltonJohn's "Song For Guy", and by extension the main riff of Hurley & Todd's "Sunstorm".
140	* Music/TheBeeGees' [[https://youtu.be/XpqqjU7u5Yc "How Deep Is Your Love"]], during the chorus: I, iii6/4, iii°6/4, [=VI7=]♭9, VI, ii6/4, v6/3, I6/4.
141	* The chorus of "[[https://youtu.be/ZnCzOCuZXj8?t= Graduation]]" from ''VideoGame/DanceDanceRevolution Extreme'' uses the chromatic scale in G major for its first four chords, G->D6->[=Dm6=]->E, then switches to the diatonic scale for C6->G4->E7/4/2->[=Cmaj7=] before resolving to D as usual.
142	* "[[https://youtu.be/kG6O4N3wxf8 Chim Chim Cher-ee]]" from ''Film/MaryPoppins''.

Context Main / FallingBass