Minor key progressions aren't that different from major progressions. There is still a lot of movement in fifths and the chord ladder is definitely in effect, but the one thing to watch out for is the dominant chord functions. V and vii° chords are almost always changed in minor keys. FIGURE 10.8 shows a simple progression: the i–iv–v progression.

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FIGURE 10.8 i–iv–v–i Progression TRACK 58

What's wrong here? Listen to it. What's missing? There is a common progression, the i–iv–v, and it works on the chord ladder, but something sounds off. The quality of the v chord didn't change. Because it's a minor chord, it simply doesn't have the gravity expected from the V chord (which should be about as strong a chord as is). Changing the V to a major chord (see figure 10.9) makes it sound a whole lot better; just listen.

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FIGURE 10.9 i–iv–V–i Progression

Now it sounds better. There is always the option of adding a seventh to the V chord for even more pull, as in FIGURE 10.10.

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FIGURE 10.10 i–iv–V7–i Progression

Functionally, both progressions work, but the added seventh makes things resolve a touch stronger.

Any of the chord progressions from the major key will work well, and as long as you mind your dominant chords, all will be fine.

So, what changes? Although the chord ladder may look similar, minor keys sound completely different because the function of each chord is different than in a major key. All of a sudden, iv chords are minor and VI chords are major in the minor key. Also, the distance from note to note is different in the minor key because the minor key has a different interval pattern from the root and, thus, sounds different. Take a parallel progression in major and minor to compare just how different they sound. FIGURE 10.11 shows a I, vi, IV, V progression in C major.

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FIGURE 10.11 Diatonic Major Progression: I, vi, IV, V

Now, transfer this directly to C minor, as in FIGURE 10.12. Now look at and listen to how much things change.

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FIGURE 10.12 Diatonic Minor Progression: i, VI, iv, V

What's the lesson here? To start with, listen to everything. The Roman numerals begin to look the same after a while. Theory can't exist solely on paper; it has to come alive.

For the rest of the progressions, start mixing and matching chords as appropriate in the keys. Use the accepted ladder of chords as a starting point, but remember that it is by no means a set of rules—far from it! The ladder of chords is a common starting ground. As you start to analyze music on your own, which you will have to do since you are not going to get any more examples of chord progressions right now (the music you already have and know holds plenty of information), you will see a great deal of music that uses the chord ladder. File that music away by how it sounds. Do you like the way it sounds when the scales are used diatonically? It's an agreeable sound.

You will find some music that does not go through the expected set of chords. You may see some huge “rules” broken. You may see chords that simply “don't belong.” File that away, too, because in the end, no one approach will win. Ask yourself if you like the sound of what you're hearing. No matter your answer, analyze it and figure out what makes it work. If you love it, see if you can adopt some of those movements into your chord progressions. If you hate something, see what to avoid in your writing. Either way, you will learn the most by looking at as much music as you can. You have a very good set of tools now, and you will continue to strengthen them, especially in the etude section at the end of the chapter, where you will analyze and create some music of your own based on what you have learned.