.svg){kind=small}
Discover Your Sound
Answer five quick questions and claim a 15% discount on your first month of Musiversal
Thank you! Your submission has been received!
Oops! Something went wrong while submitting the form.
Answer five quick questions and claim a 15% discount on your first month of Musiversal
D minor offers a rich palette of emotions, from melancholy to dramatic intensity. In this guide, we'll explore how to craft compelling chord progressions in D minor that resonate with your listeners.
We'll begin by dissecting popular songs to understand the underlying music theory. Then, we'll delve into advanced techniques like secondary dominants, borrowed chords, chromatic mediants, and key modulations, revealing how these tools add depth and emotional nuance to your music.
Finally, we'll examine cadences, the musical punctuation that creates tension and satisfying resolutions, providing a sense of completion and forward momentum in your compositions.
It is important to understand the structural foundation of D minor and the functional relationships between its chords to write engaging musical chord progressions. Here, we’ll only briefly touch on the fundamental aspects of the scale. For a comprehensive exploration of D minor's foundational elements, please refer to our article "Chords in D minor: A Comprehensive Guide".
The diatonic chords, the harmonic building blocks within the key, are directly derived from the seven notes that make up the D minor scale.
The chords of D minor are Dm, Edim, Fmaj, Gm, Am, Bbmaj, and Cmaj.
Now, let's dive into some D minor chord progressions, ranging from the simple to the more intricate. We'll explore how these sequences can spark your creativity and open up new harmonic possibilities in your music. You'll get a taste of how techniques like secondary dominants, borrowed chords, and tonic substitutions can create rich and captivating musical textures.
We'll break down these techniques later on, but for now, these examples will give you a feel for how chords interact and how to build anticipation and intrigue in your songs.
So, let's take a listen to some common and inspiring D minor progressions.
This progression, as in Howard Blake's “Walking in the Air”, effectively uses the subtonic and subdominant chords. The C major provides a sense of harmonic ambiguity, moving with less direction than typical chords. The G minor creates a more pronounced pull, building anticipation. The move to the Bb major adds a surprising color.
By omitting the dominant this progression creates a smooth, flowing feel, avoiding abrupt tension. It's this smooth flow that contributes to the ethereal quality of “Walking in the Air”.
This energetic chord sequence, found in “Stick” from High School Musical, showcases the dramatic harmonic colors common in musical theater. It begins with D minor, establishing the tonic, and then moves to Bbsus4, which introduces a sense of harmonic ambiguity, creating tension that anticipates the resolution.
The Bb7 chord then resolves some of that tension, functioning as a dominant seventh chord within the progression and setting up the next chord. The F major chord with a C bass serves as a secondary dominant, creating a smooth transition to the following C major.
The C major chord itself, a diatonic chord in D minor, provides a moment of relative stability. Finally, the Ebsus2 chord is a striking harmonic surprise. It's a chromatic suspended chord and neither major nor minor, leaving the listener with a sense of unresolved tension.
Ending a musical phrase or chorus on a suspended chord creates a feeling of anticipation, compelling the listener to want more. This technique is effective for propelling the music forward.
Kylie Minogue's “Can't Get You Out of My Head” features a chord progression that balances smooth flow with a clear sense of forward motion. The progression avoids overly strong resolutions, creating a feeling of continuous, almost hypnotic movement.
Using the minor dominant chord results in a less intense, more flowing feel, contributing to the song's distinctive, cyclical quality.
John Williams’ “Cantina Band” from Star Wars utilizes a secondary dominant to inject harmonic interest into its progression. This technique involves temporarily treating the VII chord, C major, as a temporary tonic. To achieve this, the progression precedes C major with its own dominant chord, G7 (V/VII).
The progression begins with D minor (i), establishing the key. It then moves to G7, which creates a strong sense of anticipation, pulling the listener towards the C major chord. Secondary dominants add a touch of sophistication and a sense of forward motion, contributing to the memorable and quirky character of the song.
Gotye's “Somebody That I Used to Know” features a chord progression that deliberately avoids two of the three primary chords—the subdominant and the dominant. This omission creates a sense of harmonic ambiguity and a lack of strong directional pull, which perfectly complements the song's lyrical theme and the emotional content of the chorus.
This lack of clear resolution contributes to the song's feeling of emotional detachment and unresolved tension.
The verse of Dire Straits' “Sultans of Swing” utilizes a similar chord progression to the previous example but with a crucial addition: the dominant seventh chord.
The addition of the A7 chord at the end of the phrase significantly alters the harmonic landscape. This dominant seventh chord builds anticipation, effectively propelling the music forward and setting up the next section or the continuation of the verse.
The A7 chord's inherent harmonic tension creates a sense of urgency, driving the music forward and adding a layer of dynamic energy to the verse.
The intro to “Breaking Bad” masterfully uses two particularly intriguing chords to build tension and anticipation, perfectly complementing the show's narrative.
The F6 (iii6) chord adds a subtle layer of harmonic color and a slight shift in mood. Finally, the Em7b5 (iiø7), a half-diminished seventh chord, introduces significant harmonic tension. This chord, with its inherent instability, creates a sense of unease and anticipation, demanding a resolution.
Starting a chord progression with chords other than the tonic is a powerful way to inject energy and movement from the very beginning. Steve Winwood's “Higher Love” effectively does this.
Both the submediant and mediant chords share common tones with the tonic chord, creating a subtle harmonic connection. This allows the progression to hint at the D minor key signature without firmly establishing it, creating a sense of anticipation.
By delaying the resolution to the tonic, the progression increases the impact when the D minor chord finally arrives. This creates a satisfying sense of arrival and resolution, enhancing the emotional impact of the song.
Using chord extensions is a highly effective way to add depth and harmonic richness to any chord progression. In Alexander Rybak's “Fairytale” the use of extended chords significantly enhances the song's harmonic landscape.
While the fundamental chord progression would function without these extensions, they add a layer of sophisticated harmonic complexity that supports the vocals and the violin melody.
The Dm7 introduces a subtle richness, while the Gm9 adds a lush, expansive quality. The Bb7, a dominant seventh, creates a sense of harmonic pull, and the Am provides a familiar resolution.
These extended chords add a depth of color and emotion that elevates the song beyond a simple progression, providing a captivating harmonic backdrop.
To create smooth and natural transitions between chords, a solid understanding of inversions is essential. While triads in root position provide a stable harmonic base, relying solely on them can lead to a sense of harmonic monotony. Chord inversions offer subtle variations in stability and harmonic color, resulting in more engaging and dynamic progressions.
An inversion occurs when a chord's notes are rearranged so that a note other than the root is in the bass. In D minor, we can invert each triad in the following ways:
Using inversions allows for smoother voice leading, which means the individual notes in the chords move in smaller, more connected steps. This creates a more fluid and less abrupt sound.
For example, moving from a Dm chord to a Gm chord in root position might involve larger leaps between notes. However, by using an inversion of Gm, we can create a smoother transition.
Inversions also add harmonic color. First inversions often sound smooth and flowing, while second inversions can create a sense of instability, leading to a stronger resolution. By strategically using inversions, you can add depth and variety to your chord progressions, making them more interesting and engaging for the listener.
While the seven notes of the D minor scale provide a solid foundation, exploring the remaining chromatic notes opens up a vast spectrum of harmonic possibilities. Deliberately incorporating these chromatic notes can introduce tension, surprise, and a sense of harmonic unpredictability, significantly enhancing the depth and emotional impact of your music.
Understanding all twelve notes within a key greatly expands your expressive range. These chromatic notes, called “accidentals”, alter the standard scale tones and are represented by sharps (♯), flats (♭), or naturals (♮).
Chromatic notes are particularly useful for:
Below is a good example of how a non-diatonic chord can add more surprising harmonic colors. A major, D7 and A augmented are the non-diatonic chords in the progression.
Chords: Dm - A - Dm - Gm - D7 - Gm - A - Aaug - Dm
Developing a refined sense of hearing is crucial for both composition and improvisation. The ability to recognize intervals, both within and beyond the confines of a scale, streamlines chord selection, simplifies key modulations, and contributes to enhanced musical fluency.
Associating intervals with familiar melodies offers a powerful technique for internalizing these sonic relationships.
For practical examples of songs that showcase each ascending and descending interval, please refer to our article “Ear Training: Songs to Practice Intervals.”
Dominant chords play a crucial role in Western harmony due to their inherent instability, which creates a satisfying resolution when moving to the tonic chord, driving harmonic motion. Secondary dominants extend this principle, allowing us to temporarily emphasize chords other than the tonic within a given key.
By using the dominant chord of a specific target chord, we create a momentary sense of resolution, enriching the harmonic texture and introducing temporary harmonic tension. This secondary dominant is located a perfect fifth above the target chord, creating a strong pull towards it, similar to the familiar dominant-tonic resolution.
For instance, in D minor, we can temporarily treat the submediant, Bb, as a temporary tonic. To do this, we use its dominant chord, F major (V/VI). However, we can also use the parallel minor version of Bb, which is Bbm. This creates a different harmonic color and adds a unique twist to the progression.
Chords: Dm - Am/C# - F7 - Bbm - F - A7 - Dm
Next, we’ll see a chord progression with the common V/V (dominant of the dominant) chord where the A7 is temporarily tonicized.
Chords: Dm - C/E - E7 - A7 - Dm
Secondary dominants offer a powerful tool for adding harmonic surprise and sophistication to chord progressions. By temporarily emphasizing chords other than the tonic, they create a compelling sense of harmonic tension and release. This technique enriches the emotional depth of your music and enhances its expressive capabilities.
Chromatic mediants introduce a rich and colorful harmonic dimension to D minor. These chords, located a major or minor third away from the tonic, incorporate notes outside the key, creating an intriguing harmonic texture while maintaining a subtle connection to D minor through shared tones.
It's crucial to distinguish between chromatic mediants and diatonic mediants. While diatonic mediants are within the key, chromatic mediants introduce notes that are not part of the original D minor scale.
For a chord to be considered a chromatic mediant, it must contain at least one note that is foreign to the key signature. This creates a striking contrast and adds a unique harmonic color to the progression.
For example, moving from D minor to F minor creates a chromatic shift because F minor includes G#, a note that does not belong to the D minor scale.
Chords: Dm - Fm - Gm - Em7b5 - Dm
In this progression, there are two consecutive chromatic mediant intervals for a particularly “chromatic” sound. As you can see in the score, there are several accidentals used in this chord progression.
Chords: Dm - G#m - Bm - Gm - A7 - Dm
The interplay between the stable foundation of diatonic D minor chords and the chromatic richness of mediant chords creates a captivating harmonic tension.
These chromatic mediants add depth and color when harmonizing a melody or enriching the harmonic texture, all while maintaining a tonal anchor in D minor. This careful balance between diatonic and chromatic elements produces a sophisticated and engaging musical effect.
Chromatic mediants are particularly effective in film scores, video game soundtracks, and genres that prioritize emotional depth and harmonic intrigue, lending a vivid narrative quality to the music.
Chord extensions add layers of complexity and depth to harmonic textures. These extensions, created by stacking additional thirds above a basic triad, result in seventh, ninth, eleventh, and thirteenth chords.
Like seventh chords, extended chords can have major, minor, or dominant qualities and can be flattened or sharpened. While their sonic characteristics might seem intricate, their construction is systematic: the extension number corresponds to the scale degree above the root. For example, a ninth chord includes the ninth scale degree, an eleventh chord includes the eleventh, and so on.
To avoid harmonic muddiness, especially in lower registers, the third and fifth are often omitted from the eleventh and thirteenth chords. This ensures clarity and promotes effective voice leading. By carefully selecting which chord tones to include, you can craft rich and detailed harmonic textures.
Ninth chords introduce a heightened sense of harmonic richness by adding a ninth (a third above a seventh chord) to the basic chord structure. This addition creates a noticeably fuller and more intricate sonic texture compared to triads and seventh chords, contributing significant depth and harmonic color to a musical passage.
The ninth adds a bright, airy quality that expands the harmonic palette. Whether used in major, minor, or dominant contexts, ninth chords create a sense of sophistication and spaciousness, making them a powerful tool for adding emotional depth and harmonic interest to your music.
Chords: Gadd9 - A - Dm - A7b9 - Dm
An eleventh chord is formed by adding an eleventh (a third above the ninth) to a basic chord structure. This harmonic voicing, particularly when built on the dominant scale degree, is frequently used in popular music, contributing a distinctively jazzy and soulful character.
When an eleventh chord is used on the dominant, the third and fifth of the chord are often omitted to maintain harmonic clarity, especially in lower registers. This omission prevents the chord from sounding muddy and allows the eleventh to stand out. The resulting sound is open and spacious, adding a rich, expressive quality to the harmony.
Eleventh chords can add a touch of sophistication and emotional depth, making them a versatile tool for creating soulful and engaging musical passages.
Chords: Gmadd9 - A7 - Bb - A11 - Gm - Dm - A7 - Aaug - Dm
The thirteenth chord, formed by adding a thirteenth to a basic chord structure, creates a rich and dense harmonic texture. However, by strategically omitting the third and fifth, a warmer, more open sonic quality can be achieved. This technique clears the lower register, allowing the higher extensions, particularly the thirteenth, to resonate with greater clarity.
The resulting sound is sophisticated and spacious, adding a unique harmonic color to the music. Thirteenth chords, when used effectively, can create a sense of depth and complexity, enriching the emotional impact of a musical passage. They are often found in genres that utilize complex harmonies, such as jazz, R&B, and some forms of pop.
Chords: Dm9 - G13 - C9 - Aadd9 - Dm9 - Edim7 - Dm - Asus4 - A7 - Dm
While often associated with jazz chord progressions, chord extensions are not limited to that genre. Pop and rock artists, including influential musicians like Muse and Jimi Hendrix, frequently integrate these sophisticated harmonies into their compositions. This adds a layer of musical depth and harmonic intrigue, demonstrating the versatility of extended chords across various musical styles.
“Add” chords offer the harmonic color of extensions but with a less dense texture. They are constructed by adding a single scale degree to a basic triad, unlike numbered extensions which include all intervening scale degrees.
For example, Aadd9, Eadd11, and Bmadd13 consist of the triad with only the 9th, 11th, or 13th added, respectively, omitting the 7th and any other extensions. Conversely, A9, E11, and Dm13 imply the inclusion of all scale degrees up to and including the 9th, 11th, and 13th, respectively.
This difference in construction results in a distinct sonic character. “Add” chords provide a brighter, more open sound, while numbered extensions create a richer, more complex harmonic texture. The choice between “add” chords and numbered extensions depends on the desired harmonic density and the specific musical context.
Building on our earlier exploration of chromatic notes, including diminished and augmented chords within D minor, we now delve into relative key signatures and borrowed chords. Venturing beyond the diatonic scale is a powerful method for introducing unexpected harmonic shifts, leading to more engaging and captivating progressions.
Experimenting with chromatic chords, passing tones, borrowed harmonies, and chromatic mediants provides a rich source of inspiration, especially when facing writer’s block.
These techniques offer a diverse palette of unique harmonic colors that can stimulate creativity and encourage innovative musical approaches. By stepping outside the familiar confines of the diatonic scale, you can unlock a wealth of new sonic possibilities.
Every minor key has a relative major, and vice versa. These key pairs share the same key signature—the same sharps or flats—but differ in their tonal centers. This distinction is crucial: even though they use the same notes, chord functions, and emotional impact vary significantly between the keys.
In a minor key, the relative major is located on the third scale degree. In D minor, the relative major is F major.
Conversely, in a major key, the relative minor is located on the sixth scale degree. In F major, the relative minor is D minor.
Establishing either D minor or F major as the "home" note dramatically alters the perception and usage of chords within that shared set. This difference in tonal center creates distinct emotional landscapes, despite the shared key signature.
Modulating to F major, the relative major of D minor, opens up a new harmonic landscape with seven distinct diatonic chord functions, all within the same key signature. The diatonic chords in F major are: F, Gm, Am, Bb, C, Dm, and Edim.
The inherent relationship between these keys allows for compelling harmonic interplay. This shift in tonal center adds depth and enables contrasting emotional expressions between musical sections.
Modulation between relative keys is a standard and effective compositional technique. For example, transitioning to F major can evoke a sense of brightness and uplift, while returning to D minor can create a feeling of introspection, melancholy, or resolution. This contrast in emotional quality can add a dynamic and engaging element to your compositions.
In this example we’re using the C7 as the pivot chord to F major. C7 is the VII chord in D, but the V chord in the relative major key, which sets up a V-I cadence.
Chords: Dm - Gm - Bb - C7 - F - Bb - Bdim - C7 - F
Parallel chords, formed by altering a chord's mode (from major to minor or vice versa) through the use of accidentals, introduce unexpected harmonic variations. For instance, within the D minor key, borrowing the parallel minor subdominant, G major, instead of the diatonic G minor, creates a noticeable emotional shift. This technique can create a sense of surprise and subtly modify the prevailing mood.
It is important to note that excessive use of borrowed chords can obscure the tonal center and diminish harmonic stability. However, strategic implementation can emphasize key moments and enrich a song's overall harmonic texture, adding depth and complexity to the composition.
Just as punctuation shapes the meaning and flow of language, cadences articulate and accentuate musical phrases, establishing structure and emotional resonance. They serve as musical punctuation, delineating the emotional narrative within a composition.
By using a variety of cadences, composers and producers can craft a spectrum of expressive effects, ranging from dramatic climaxes to subtle, contemplative conclusions. Cadences provide a sense of closure or anticipation, guiding the listener through the emotional journey of the music.
We will now examine common cadences within the key of D minor, exploring how they contribute to the emotional landscape of a musical piece.
The traditional dominant-tonic cadence provides a definitive sense of resolution, effectively signaling the conclusion of a musical phrase or composition. This clear resolution imparts a feeling of musical finality. A perfect cadence, which achieves the most powerful resolution, requires both chords to be in root position and the melody of the tonic chord to conclude on its root.
Dominant → Tonic (V - i)
A major → D minor
The dominant seventh chord, with its added dissonance, creates a greater feeling of tension that demands resolution. When this chord resolves to the tonic, the sense of arrival and finality is heightened, making the cadence even more powerful and satisfying.
A7→ D minor (V7 - i)
In contrast to the definitive resolution of a perfect cadence, the plagal cadence, also known as the “Amen” cadence, offers a more subdued conclusion. Its gentle quality makes it a common feature in hymns, where the iv-i progression is frequently used to accompany the final “Amen.”
Subdominant → Tonic (iv - i)
Gm → D minor
Unlike the sense of finality provided by perfect authentic and plagal cadences, the half cadence ends on the dominant chord, creating a sense of harmonic incompleteness. This unresolved feeling creates anticipation, heightening the listener's expectation for the eventual tonic resolution and shaping the music's dynamic flow.
Tonic, or Supertonic, or Subdominant → Dominant: (i / ii° / iv → V)
D minor → A major
Em7b5 → A major
G minor → A major
The interrupted, or deceptive, cadence sets up an expectation of a strong resolution to the tonic chord, only to deviate unexpectedly to the submediant (VI) chord. This harmonic surprise generates a sense of delayed resolution and can facilitate a smooth modulation to a new tonal center.
Dominant to Submediant (V - VI)
A major → Bb major
Even with only seven triads and their inversions, diatonic harmony still offers a wide range of expressive possibilities. You can craft compelling and engaging progressions using these fundamental building blocks alone.
While advanced harmonic theory generates intriguing progressions, you must maintain a strong understanding of diatonic chords. Stability provides a crucial foundation for more elaborate harmonic structures and solidly grounds the tonality.
Classical theory categorizes diatonic chords into primary (i, iv, v) and secondary (ii°, III, VI, VII) groups. Primary chords define the key, ground the tonality, and establish a balance of tension, anticipation, and resolution.
Secondary chords contrast moods, add harmonic color, and enrich the overall harmonic palette. Many popular songs deliberately rely on primary chords and strategically use secondary chords to introduce variety and interest.
Use extended chords and accidentals with intentionality. They heighten color and create dramatic effects, but overuse destabilizes harmony. Apply them thoughtfully and strategically to preserve clarity and maximize impact.
Realize your musical aspirations with Musiversal, offering instant access to over 80 professional musicians and engineers for recording. Our Unlimited subscription provides unlimited recording sessions with our premier talent roster.
Professional Recording Services: Collaborate with world-class musicians across a wide range of instruments, from drummers and cellists to vocalists and beat makers. Schedule live sessions and work in real time to ensure your music aligns perfectly with your vision.
Comprehensive Songwriting Assistance: Overcome creative blocks with expert songwriting support. Our professionals can assist with lyrics, chords, harmonies, and overall composition, helping you develop your ideas from inception to completion.
Expert Mixing and Mastering: Achieve release-ready tracks with our professional mixing and mastering services, ensuring a polished and professional sound.
Educational and Informative Resources: Expand your musical expertise with our weekly updated Musiversal blog, featuring insights on music theory, songwriting, production, gear, marketing, and distribution.
Stay Informed and Connected: Subscribe to our newsletter for exclusive discounts, behind-the-scenes content, session highlights, marketing strategies, and more, empowering your music career with Musiversal.
Discover a curated collection of articles across topics in Music Theory, Production, Gear, Songwriting, and Marketing.
Elevate your music creation with expert insights and comprehensive resources.
.webp)
.webp)
