Minor, Diminished, and Major Chord Progressions

In this lesson, we will explore chord progressions involving minor, diminished, and major chords. From previous lessons, you’ve learned how to form and invert minor, diminished, and major chords. Now, we’ll use these chords to create functional and expressive progressions.

Chord Progressions

You’ve already studied chord progressions that focus on major chords. As you know, each note in a scale corresponds to a specific chord type:

• I, IV, and V are major chords.
• ii, iii, and vi are minor chords.
• The 7th scale degree is unique and corresponds to a diminished chord (not a minor chord, as previously stated—this correction aligns with standard music theory).

Why Do Specific Scale Degrees Correspond to Different Chords?

The association of scale degrees with specific chord types arises from their inherent harmonic structure and intervallic relationships. In music theory, chords are built by stacking notes at specific intervals (typically thirds).

• Major chords (I, IV, V):
  Composed of a root, major third, and perfect fifth. These intervals create stability and consonance.
  • Example: C Major Chord (C-E-G).
• Minor chords (ii, iii, vi):
  Composed of a root, minor third, and perfect fifth. The minor third gives these chords a melancholic or somber quality.
  • Example: D Minor Chord (D-F-A).
• Diminished chord (vii°):
  Composed of a root, minor third, and diminished fifth (six half-steps above the root). This creates tension and instability.
  • Example: B Diminished Chord (B-D-F).

These relationships are rooted in centuries of musical tradition and harmonic principles. They provide a framework for crafting chord progressions and understanding tonal characteristics.

Example: C Major Scale

Let’s break down the chords in the C Major scale:

Creating Chord Progressions

Using these chords, you can build progressions that follow common harmonic patterns:

1. I – IV – V – I: A classic "tonic-subdominant-dominant-tonic" progression (e.g., C – F – G – C).
2. vi – ii – V – I: A "sad to resolved" progression (e.g., Am – Dm – G – C).
3. I – vi – IV – V: A popular pop/rock progression (e.g., C – Am – F – G).

Key Takeaways

• Major chords (I, IV, V) provide stability.
• Minor chords (ii, iii, vi) add emotional depth.
• The diminished chord (vii°) introduces tension, often resolving to the tonic.

IV & V Degrees

The 4th (IV) and 5th (V) scale degrees also form major chords. Thus, they are associated with major triads.

However, starting on the 2nd degree (D) and selecting every other note in the scale forms a D minor triad.

• To turn this chord into a major triad, the F must be raised to F# (to satisfy the "major third" rule). Since the first interval is a minor third (D → F), the chord is classified as minor.

iii & vi Degrees

The same logic applies to the 3rd (iii) and 6th (vi) degrees of any major scale:

• These degrees form minor triads due to their intervallic structure (root + minor third + perfect fifth).

vii° Degree

The 7th degree (vii°) is unique—it does not form a major or minor triad. Instead, it creates a diminished triad:

• A diminished triad consists of a root, minor third, and diminished fifth (six half-steps above the root).

Chords in the C Major Scale

Here are the triads built from the C Major scale:

Scale Degree Names

Each note in the scale can be identified by a name and a Roman numeral. The most important degrees align with the primary triads: I (tonic), IV (subdominant), and V (dominant).

Primary Degrees

• Tonic (I):
  • The "home" note of the scale (e.g., C in C Major).
  • Represented by the Roman numeral I.
• Dominant (V):
  • The 5th scale degree (e.g., G in C Major).
  • Creates tension that resolves back to the tonic.
• Subdominant (IV):
  • The 4th scale degree (e.g., F in C Major).
  • The prefix "sub-" means "below," as it lies a fifth below the tonic.

Secondary Degrees

• Mediant (iii):
  • The 3rd degree, midway between the tonic and dominant (e.g., E in C Major).
• Submediant (vi):
  • The 6th degree, midway between the tonic and subdominant (e.g., A in C Major).
• Supertonic (ii):
  • The 2nd degree, directly above the tonic (e.g., D in C Major).
• Leading Tone (vii°):
  • The 7th degree (e.g., B in C Major).
  • Also called the subtonic in some contexts, it strongly "leads" to the tonic.

Summary of Scale Degrees

Note:

• The Leading Tone (vii°) is distinct from the Subtonic, which refers to the natural 7th degree in minor scales (unraised). In major scales, the 7th degree is always the leading tone.

Using Scales to Determine a Song’s Tonal Center

The tonic (I) chord establishes the tonal center (the key) of a song. The best way to identify the tonal center of a chord progression is to analyze which key(s) the chords could belong to.

Example Chord Progression

Consider the progression:
Dmin → Gmaj → Cmaj → Amin → Dmin → Gmaj → Cmaj

Analysing Chords in Context

Clues to Identify the Tonal Center

1. Ending Chord:
   • While songs often end on the tonic (I), this isn’t always the case. The progression above ends on Cmaj, suggesting C Major as a possible tonal center.
2. Chord Types and Relationships:
   • Gmaj → Cmaj: A classic V → I (dominant → tonic) resolution in C Major.
   • Dmin → Gmaj → Cmaj: A ii → V → I progression in C Major, reinforcing the key.
3. Scale Degree Alignment:
   • In C Major:
     • Dmin = ii, Gmaj = V, Cmaj = I, Amin = vi.
     • This matches the progression’s structure.

The ii ➔ V ➔ I Progression

This iconic progression creates tension and resolution:

1. ii (Supertonic): Prepares the dominant (e.g., Dmin in C Major).
2. V (Dominant): Builds tension (e.g., Gmaj in C Major).
3. I (Tonic): Resolves the progression (e.g., Cmaj).

Example in C Major:
Dmin (ii) → Gmaj (V) → Cmaj (I)

Common Chord Relationships

Key Takeaways

• The tonal center is often confirmed by frequent returns to the tonic (I) and dominant (V) chords.
• ii ➔ V ➔ I is a foundational progression in Western harmony, driving musical tension and resolution.
• Always verify your analysis by ear—the tonal center should feel "at rest" when played.

Chord Families

• Tonic ➔ The tonal center of the music.
  • Followed by I (i) or vi (VI) chords and a V chord.
• Dominant Seventh ➔ Points to the tonal center.
  • Includes V, vii°, or related seventh chords.
• Dominant Preparation ➔ Leads to the dominant seventh chord.
  • Includes ii (ii⁷), IV (iv), or vi (VI) before the V chord.

Harmonic Direction

1. Tonic (I) is the point of rest (final resolution).
   • The tonic chord typically ends a song or section, providing closure.
2. Dominant (V) precedes the tonic.
   • Creates tension that resolves to the tonic.
3. Dominant Preparation (ii, IV, vi) hints at the dominant.
   • Example: In a ii ➔ V ➔ I progression, the ii chord prepares the V chord.

Functional Chord Sequence

Dominant Preparation ➔ Dominant ➔ Tonic
Example:
Dmin (ii) ➔ G7 (V) ➔ Cmaj (I)

Common Progressions

2 ➔ 5 ➔ 1 (ii ➔ V ➔ I)

• In C Major:
  Dmin (ii) ➔ G7 (V) ➔ Cmaj (I).
• Tip: Use inversions for smoother transitions (e.g., Dmin/F ➔ G7/B ➔ Cmaj).

6 ➔ 2 ➔ 5 ➔ 1 (vi ➔ ii ➔ V ➔ I)

• A cyclical progression:
  Amin (vi) ➔ Dmin (ii) ➔ G7 (V) ➔ Cmaj (I).
• Example in C Major:
  Cmaj/G ➔ Amin ➔ Dmin ➔ G7 ➔ Cmaj.

3 ➔ 6 ➔ 2 ➔ 5 ➔ 1 (iii ➔ vi ➔ ii ➔ V ➔ I)

• Adds a mediant (iii) to the cycle:
  Emin (iii) ➔ Amin (vi) ➔ Dmin (ii) ➔ G7 (V) ➔ Cmaj (I).

7 ➔ 3 ➔ 6 ➔ 2 ➔ 5 ➔ 1 (vii° ➔ iii ➔ vi ➔ ii ➔ V ➔ I)

• Creates tension and resolution:
  Bdim (vii°) ➔ Emin (iii) ➔ Amin (vi) ➔ Dmin (ii) ➔ G7 (V) ➔ Cmaj (I).

Variations and Advanced Techniques

1. IVm ➔ I (Subdominant Minor ➔ Tonic)
   • Example in C Major: Fmin/G ➔ Cmaj (replaces V ➔ I).
   • Common in gospel music for dramatic resolution.
2. Altered Bass Lines
   • Experiment with bass notes to create fresh progressions:
     • Fmin/C ➔ Cmaj (tonic pedal bass).
     • Fmin/D ➔ Cmaj/G (chromatic bass motion).
3. Diminished Chords for Tension
   • Example: F#dim/D ➔ G7 ➔ Cmaj (common in gospel).
4. Secondary Dominants
   • Turn ii into a major chord (e.g., Dmaj ➔ G7) for stronger pull.

Gospel-Style Progressions

Example:
Amin/B ➔ Fmin/E ➔ Amin ➔ Fmin/D ➔ Cmaj/G ➔ Amin ➔ F#dim/D ➔ G7 ➔ Cmaj

Key Modifications:

• vii°: Use a vi chord over vii bass for smoother transitions.
• iii: Replace with IVm in first inversion (e.g., Fmin/A ➔ Amin).
• ii: Substitute with IVm over ii bass (e.g., Fmin/D ➔ G7).

Summary of Progressions

Let me know if you’d like to explore specific inversions or advanced chord substitutions! 🎹