![]() Introducing a “relative V” chord helps mimic this sound and this tendency.Ī quick breakdown can help you understand this if we were to treat C as the I chord: The I-V chord change is the strongest chord change in western music, and lots of music is built around it. The reason it wants to do this is that I is the relative V chord to IV. So making the I chord a 7th chord helps increase its urgency to go to the IV chord. The I – IV chord change is used a lot in the blues and many genres. This is a good trick with composing chord progressions if you do not like the mix of thirds and 7ths throughout it.Īnother great trick to take away from this chord progression is making an I chord into a dominant 7th. Nearly every other chord is played as a power chord. That means they’re not clearly minor or major, except for the I7 and the first G chord. The progression does this by making the chords more ambiguous. I really wanted to include this example because it’s not a typical 12-bar blues progression, and its harmony suggests darkness though it’s set in a major key. So to the listener, the Am to C transitions nicely into each other. In this case, it works well because the tab of the arpeggiated riff has a similar pattern throughout the riff. ![]() This is because Am and C, as well as G and Em, contain many of the same notes. One problem that many songwriters will encounter when using the III chord and the V and VII chords together is that they may not create a strong contrast between each other. It doesn’t return to a minor chord until the last bar.īasically, it’s a good idea when using the minor key for composition to use a good mixture of major and minor chords. Like the previous progression as well, it wants to use and go to stable harmonies like the III and VII chords. ![]()
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