So to the listener, the Am to C transitions nicely into each other. In this case, it works well because the tab of the arpeggiated riff has a similar pattern throughout the riff. This is because Am and C, as well as G and Em, contain many of the same notes. One problem that many songwriters will encounter when using the III chord and the V and VII chords together is that they may not create a strong contrast between each other. It doesn’t return to a minor chord until the last bar.īasically, it’s a good idea when using the minor key for composition to use a good mixture of major and minor chords. Like the previous progression as well, it wants to use and go to stable harmonies like the III and VII chords. A Minor Scale = A – B – C – D – E – F – G.The example before had an F#, which was used in D major and was not a part of A minor. This is because all the chords exist perfectly in the key of A minor. While the last example was a modal progression, this one is not for various reasons. This is a big problem with composing in minor keys, but this progression is an example of how to rectify that problem. If we kept going to other minor chords, the progression may feel weak and unstable and without a key center. This means that our ears want to go to musical places that are more pleasant to our ears. It can start on any other key except for the I.Ī key trait of many minor progressions is their tendency to go to major chords for stability. Playing a modal progression is all about using chords in a major key that’s out of order. If you’ve been looking for an example of modes in music, then here is one for you. Like last time, we can break down the scale and chords to see this: You can see this progression in two ways: as a progression in A Dorian or as an A Minor progression with a major IV chord. There is no debate that the riff follows and uses many of the notes and possible sounds of a minor key, and it will do you immense good for your playing and songwriting to continue reading this article. It doesn’t matter whether Kurt knew any of this when he wrote the riff. If any of this is difficult to understand, it’s because you haven’t taken the time to learn the fundamentals of music theory yet. This riff can also be seen as a series of I-IV changes in F and then in Ab. F minor scale = F – G – Ab – Bb – C – Db – EbĪlso, notice that it doesn’t use the v chord to end on.Īlthough many progressions in minor keys will end on a minor v or a major V, this will create a classical baroque sound that you may not want.This riff by Nirvana is played in the key of F minor, and it goes as follows: It implies the dark sound of minor without adding all the third intervals. Many minor chord progressions in rock music will not use a full harmony but instead, use power chords. Minor Chord Progressions i – iv – III – VI Differences between a minor and a major chord.i – V7 – VII – IV7 – VI – III – iv7 – v7.
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