The Three Essential Chord Progressions in Minor
The same principles of chordal movement in the major mode apply in the minor mode, with the following caveats and observations:
Progression No. 1: Root movements by fifths/fourths in minor
Observe the following progression clockwise around the circle in minor:
V
iiº ______i
VI __________iv
III _____VII
You will notice that the root movement from iv to VII (major) is now a perfect fifth (unlike the diminished fifth motion from IV to viiº in the major mode). It is then followed by two major triads, making this portion of the “journey” around the circle very strong—indeed, it briefly but powerfully suggests a shift into the relative major mode. (VII – III – VI in minor is the same as V – I – IV in the relative major). The tritone in the minor circle of diatonic fifths occurs in the movement from VI to iiº, leading to an altered V chord that returns to i.
Here is the progression, with the Roman numerals below the bass staff representing the chord progression in minor, and the Roman numerals between the staves representing the same progression, but as if in the key of the relative major, Eb major. Note how the VII chord in minor corresponds to the V chord in the relative major. Notice too that the iiº chord in minor corresponds to the viiº chord in major. If you are completely clear about this, you will understand a great deal about the interaction between the relative major and minor modes.
This makes the motion around the cycle in minor very powerful, and not at all uncommon. Indeed, there is a wonderful fugue by J.S. Bach whose subject goes completely around this cycle, and thus the entire working out of the fugue continually draws upon this complete progression. Here is a snippet of it:
Progression No. 2: Root movements by thirds in minor
In a similar vein, the motion down by thirds in minor, from i to VI or from v to III, especially, pulls a piece of music strongly towards the relative major, at least for a brief period of time.
Indeed, it is in such passages that the modal v chord (as a minor triad) most commonly appears, when it is functioning within a passage where the major III, VI and VII chords are being emphasized.
It is this ambiguous quality of the dominant and leading tone triads in a minor key (they both can and do appear as both minor and major chords) is partially why the minor mode is a more complex mode in which to compose, but also full of deeper emotional possibilities.
Progression No. 3: Chord movements by step in minor.
Chord movements by step in minor. In minor, chord motions by step have a similar quality: they are progressive in an upward direction, and retrogressive in a downward direction. They largely occur in pairs, just as in major.
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