![]() They typical thing is label chords with Roman numerals to analyze and list progressions. Basically harmony is about relative relationships between chords. Your second progression "works well" because you inadvertently put it into conventional minor key harmony with the standard dominant chord and a descending fifth, cadential progression back to the tonic.Īlso, I was wondering whether I can use this phenomenon to modulate to another progression close to G-Major (E-Minor?)? And if so, how? (and why?) Your first progression is a plain vanilla diatonic progression that returns to the tonic with a relative major/minor progression. ![]() Suffice to say minor key harmony is considered a more advanced harmony topic usually covered in the later sections of a textbook or course. Some say this minor key harmony uses chord derived from the harmonic minor scale, but that just makes a different muddle of minor key harmony. The seventh degree in minor keys is always raised to one half step below the tonic for dominant chord. The G chord is chromatic in terms of the key signature, but it does that by convention in C minor. In the key of C minor the basic circle of fifths would be: Cm Fm Bb Eb Ab Ddim G Cm. But that is not how minor key harmony works. That would be the case if you used only the purely diatonic chords from a key signature of three flats. I'm guessing you regard the G major chord as unrelated, because you are expecting it to be a G minor chord. The two progressions aren't very different on that basis. The only difference relative to the circle of fifths and roots by descending fifths is the placement of the descending third progression. Both have the same number and type of root progressions. Identifying the cadential harmony is the basic answer to your question, but I think you should also consider your basic premise about the harmony that one of the progressions is more related to the circle of fifths. Such cadential harmony would be one of the very first topics covered in a harmony textbook. Strictly speaking a cadence would depend on voice leading and rhythm, but the progression is tonally very important. The progression G-Major -> C-Minor nominally gives us a cadence. The root progressions are ↓P5 ↓P5 ↓m3 ↓P5, again the descending third motion connections relative major/minor chords.īoth progressions give the tones for a key signature of three flats with C minor being the sensible tonic. seems a completely unrelated chord in the circle of fifths The root progressions are ↓P5 ↓P5 ↓P5 ↓m3, and the descending third motion connections relative major/minor chords.Ĭ-Minor -> F-Minor -> Bb-Major -> G-Major -> C-Minor. But, let's stick with the circle of fifths for now, but with one change: rather than a literal circle of fifths consider root progression by descending perfect fifth.Ĭ-Minor -> F-Minor -> Bb-Major -> Eb-Major -> C-Minor. You should also learn about counterpoint and voice leading. The circle of fifths isn't the "be all end all" of harmony. All very close in the pletely unrelated chord in the circle of fifths.
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