The following examples and study piece show how the harmonic minor scale can be employed over a bluesy Am-E7 -Am progression. The study piece itself features an additional Bm7b5 chord for some ...

some in F minor, etc). However, whichever keys the original songs are in, they do have their chord progressions – their essential formula – in common. To understand this properly, we need to ...

The last two chords (G-Am) form a deceptive cadence (V-vi ... only this time swapping out the last A minor chord for the expected C major, resolving the progression with a perfect cadence. Playing the ...

This gives us C – Am – F – G. A pretty standard progression, but we could make it more interesting by swapping one of these chords for one that’s borrowed from the key of C minor.

However, we can rule out the likelihood of a minor key simply because of the melody ... However, in the key of C major, the same progression would go F-C-G-Am as the IV chord in the key of C major is ...

One thing’s for sure, if a pop chord progression comprises 4 chords, it’s infinitely more likely to consist of 3 majors and 1 minor, and not vice versa. So I-IV-V is so important because this ...

or ‘relative minor’ of Chord I, and this similarity means that it still feels comfortably related to both Chord IV and Chord V. There’s no doubt that the human ear is hooked on this repetitive chord ...