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Learn how to write in G minor by exploring its fundamental harmonic foundation. We'll examine several well-known musical examples in G minor, analyzing their chord progressions. By dissecting their underlying harmonic structures, we can understand the music theory behind their construction, which you can apply directly to your songwriting.
Next, we will delve into more advanced harmonic techniques that can add depth and expressiveness to your progressions.
Finally, we will explore cadences, looking at various ways to punctuate your music effectively, creating a natural flow and dynamic contour.
This section will briefly touch on the fundamental elements of the G minor scale. For a more detailed exploration of the underpinnings of G minor, check out our article "Chords in G Minor: A Comprehensive Guide".
The diatonic chords within the key of G minor are directly derived from its seven notes.
The chords of G Minor are Gm, A°, Bb, Cm, Dm, Eb, F.
Let's dive into G minor harmony! We'll explore a range of chord progressions, from foundational to more intricate, revealing how specific techniques elevate musical textures and propel your music forward.
In the upcoming section, we'll explore these techniques further, providing examples so you can immediately begin incorporating them into your music to unlock new levels of depth and intrigue.
Let's dive into some standard and inspiring G Minor progressions.
This is a simple chord progression, but what makes it interesting is starting on the mediant chord (Bb). Beginning a phrase on chords other than the tonic is a great way to inject some instability from the get-go. This makes the impact of the tonic all the more powerful when you eventually arrive at it.
The mediant and submediant are commonly used as tonic substitutions. Because they share notes with the tonic, they maintain the tonality of the key signature while offering a sense of harmonic diversity.
“Kiss From a Rose” by Seal opens with this exact chord progression. Notice how the Gm chord grounds the harmony.
The Beatles were masters of writing simple yet sophisticated harmonies and chord progressions, and the bridge of "Two of Us" is a good example of this. The progression begins with a mediant chord, features two dominant chords, each with a distinct quality, and an i-ii interval. Notably, the supertonic (ii) chord is not diatonic to the key.
Instead of the expected diminished A chord, the Beatles opted for an A minor. Substituting a diminished chord for a less dissonant one allows for a smoother integration into the overall harmonic flow of a progression.
While "Do I Wanna Know" by Arctic Monkeys is built around a memorable riff, the notes of that riff are rooted in a simple yet effective chord progression that drives the music forward. Ending a musical phrase on the major dominant chord is a particularly powerful technique for creating tension and signaling the phrase's conclusion.
The cinematic and epic soundscapes of Two Steps From Hell are a testament to exceptional writing and compositional prowess. While their large orchestrations can be captivating, the underlying harmonic structure of many of their pieces is surprisingly straightforward.
"Strength Of A Thousand Men" exemplifies this, demonstrating how a simple chord progression can be the foundation for a larger-than-life sonic experience.
Linkin Park masterfully transforms simple pop and rock chord progressions into powerful, emotionally resonant music. "What I've Done" revolves around this four-chord sequence, which notably lacks a dominant chord.
Omitting the dominant chord prevents the progression from reaching a strong, conclusive peak that typically signals the end of a phrase. This technique is particularly effective for progressions intended to loop or be repeated multiple times, creating a sense of continuous momentum rather than clear resolution.
"Money For Nothing" by Dire Straits is instantly recognizable for its iconic riff. However, the subtle yet effective use of chord extensions further enriches the song's harmonic landscape.
Notably, the verse avoids a simple tonic triad, creating a slightly less stable feel that keeps the listener engaged. The added seventh on the tonic chord introduces a layer of depth, and the eleventh extension on the subdominant chord adds even more harmonic intrigue.
It's also interesting to observe that the second iteration of the subdominant chord omits the eleventh, lending it a more grounded quality.
"Money For Nothing" also incorporates intriguing harmonies at the end of its chorus. While the major dominant chord is a common and effective way to build tension, the song takes an unexpected turn. Instead of resolving, it ascends a half-step to the chromatic E major chord.
From a music theory perspective, the sixth-scale degree raised in a minor key is characteristic of the Dorian mode. This mode offers a distinct harmonic flavor compared to the more common Aeolian mode (the natural minor scale), adding a subtle lift and color to the progression.
"Sweater Weather" by The Neighbourhood provides another excellent example of a chord progression that maintains a strong sense of the established key while offering harmonic movement. The mediant and submediant chords share notes with the tonic chord, creating a feeling that the harmony never wanders too far from the key's central note.
These closely related chords are contrasted with the subdominant chord, which offers the most significant harmonic departure from the key's root. While the dominant and subtonic chords typically create a strong expectation of resolution, their absence in this progression contributes to a more fluid harmonic sequence.
Understanding and utilizing inversions is key to creating smooth and organic chord changes. Although root-position triads provide a strong base, relying solely on them can make a static harmonic feel. Using chord inversions introduces subtle variations in stability and tonal shading, resulting in more engaging and sophisticated progressions.
For a detailed exploration of chord inversions in G minor, refer to our article “Chords in G Minor: A Comprehensive Guide.”
Going beyond the seven core notes of the G minor scale unlocks a richer palette of sounds. Skillfully weaving in the remaining chromatic notes can inject compelling tension, delightful harmonic surprises, and a touch of the unexpected, significantly enriching the depth of your music.
Becoming comfortable with all twelve notes in any key dramatically broadens your expressive potential. These non-diatonic notes, often called "accidentals", modify the standard scale tones and are indicated by sharps (♯), flats (♭), or naturals (♮).
Chromatic notes are compelling for:
The following chord progression shows how the strategic use of accidentals can enhance the harmonic texture, even within a seemingly simple chord progression.
Chords: i (Gm) - IV (F) - v (Dm) - #VI (E) - i (Gm) - VI (Eb) - II (A) - V (D)
Training your ear to recognize intervals within and beyond the standard scale makes choosing chords effectively easier, navigating key changes smoothly, and achieving greater musical freedom.
A particularly effective way to internalize these intervallic relationships is by associating intervals with familiar melodies.
Explore our resource "Ear Training: Songs to Practice Intervals", for concrete examples of songs that showcase each ascending and descending interval.
The power of dominant chords in Western music lies in their inherent tension, which finds a satisfying release in the tonic, propelling the harmony forward. Secondary dominants expand on this fundamental principle, allowing us to highlight chords other than the tonic within a key temporarily.
We generate a sense of resolution by using the dominant chord that naturally leads to a specific target chord, adding richness to the harmony and introducing momentary tension. This secondary dominant, located a perfect fifth above its target chord, creates a strong gravitational pull towards it, echoing the familiar dominant-tonic relationship.
The following example shows a secondary dominant, specifically V/V (dominant of the dominant), resolving to V. This creates a brief "tonicization" of the V chord, providing harmonic emphasis.
Chords: i (Gm) - (VI) Eb - i (Gm) - V/V (A) - V (D7) - i (Gm)
Secondary dominants are fantastic for adding harmonic intrigue and polish to your chord progressions. By briefly highlighting chords outside the tonic, they introduce compelling moments of tension and release, enriching the emotional landscape of your music and amplifying its expressive impact.
Chromatic mediants infuse G minor with a vibrant and colorful harmonic layer. These chords, located a major or minor third away from the tonic, introduce notes not in the key, creating an intriguing harmonic texture that maintains a subtle connection to G minor through shared tones.
It's crucial to distinguish chromatic mediants from their diatonic counterparts. A chromatic mediant chord must contain at least one note outside the original key signature.
Chords: i (Gm) - ii° (A°) - i (Gm) - iii (Bbm) - ii (Am) - iv (Cm) - D+ (Daug) - i (Gm)
Another example of a chromatic mediant is to move down one major third.
Chords: i (Gm) - vi (Ebm) - V (D)
The dynamic interplay between the familiar stability of diatonic G minor chords and the colorful richness of chromatic mediant chords generates an interesting harmonic tension.
These mediant chords introduce depth when harmonizing a melody or enriching the harmonic texture while keeping a tonal connection to G minor.
This careful balance of notes within and outside the key creates a sophisticated and captivating musical effect. Chromatic mediants are particularly common in film scores, video game soundtracks, and genres that prioritize emotional resonance and harmonic intrigue, often lending a vivid, storytelling quality to the music.
Chord extensions add layers of sophistication and depth to harmonic textures. By stacking intervals of a third above a fundamental triad, we create richer seventh, ninth, eleventh, and thirteenth chords.
Like seventh chords, these extended harmonies can be major, minor, or dominant. While they might sound complex, their formation follows a logical pattern: the extension's name directly corresponds to the scale degree above the root. For instance, a ninth chord uses the ninth degree of the scale.
The third and fifth are often left out of eleventh and thirteenth chords to maintain harmonic clarity, particularly in lower registers. The omission of these notes can prevent dense chords from sounding muddy.
Ninth chords elevate harmonic richness by adding another third above a seventh chord, giving the music significant depth and harmonic color.
Chords: i (Gm) - IV (C) - V9 (D9) - i (Gm)
In the example above, observe the chromatic subdominant chord (C major), which includes an E natural. The subsequent ninth chord is also chromatic because it retains this E natural, rather than the E flat that would be diatonic to the key. Had the diatonic E flat been used, the ninth chord would typically be notated as D7b9.
Eleventh chords come from layering one more third above the ninth chord. Playing the eleventh chord in the dominant position is common in pop music, giving the chord a distinctly jazzy and soulful flavor.
Chords: i (Gm) - iv (Cm) - V11 (D11) - i (Gm)
This example mirrors the previous one, but replaces the chromatic chords with their diatonic equivalents. Additionally, the dominant eleventh chord strategically omits the 3rd and 5th, enhancing clarity and lending the chord a distinctive and less dense sonic character.
The thirteenth chord delivers a lush and complex harmonic texture, built by adding a third above the eleventh. However, a warmer, more spacious sound can be achieved by omitting the third and fifth. This clears the lower frequencies, allowing the higher extensions to resonate more freely.
Chords: i (Gm) - vi (Ebadd9) - V13 (D13) - i (Gmadd)
Although often associated with jazz chord progressions, chord extensions are not exclusive to that genre. Pop and rock artists, such as Muse and Jimi Hendrix, frequently weave these rich chords into their music, adding significant musical depth and harmonic interest.
"Add" chords provide the colorful sound of extensions but with a lighter, more open feel. Unlike numbered extensions that build up through consecutive scale degrees, "add" chords simply layer a single specified scale degree onto a basic triad.
For example, Gadd9, Dadd11, and Bbadd13 each comprise a triad with only the 9th, 11th, or 13th scale degree added, leaving out the 7th and any extensions in between.
In contrast, chords like A9, E11, and Dm13 include all scale degrees up to and including the 9th, 11th, and 13th, respectively.
Expanding on the exploration of chromatic notes in the article on the foundation of G minor key signature, we now turn our attention to relative key signatures and parallel chords. Stepping outside the familiar diatonic scale is a powerful way to inject surprising harmonic twists into your music, leading to more engaging and dynamic progressions.
Don't hesitate to experiment with chromatic chords, passing tones, parallel harmonies, and chromatic mediants. These techniques offer a rich source of inspiration, especially when experiencing writer’s block. They provide a diverse palette of unique harmonic colors to spark your imagination and encourage fresh musical ideas.
Every minor key has a corresponding parallel major key, and vice versa. These pairs of keys share the same set of sharps or flats in their key signature but have different tonal centers. This is a crucial difference: even though they use the same notes, the function of chords and the emotional feeling they evoke are significantly different in each key.
The relative major key of a minor key is found on its third scale degree. For example, the relative major of G minor is B flat major. Conversely, the relative minor key of a major key is located on its sixth scale degree, as G minor is the relative minor of B flat major.
Even though relative major and minor keys contain the same notes, their distinct tonal centers – G and B flat in this case – determine the harmonic role of each chord. Establishing either G or B flat as the "home" note dramatically changes how the chords within that shared set are perceived and used.
Modulating to B flat major, the relative major of G minor, unlocks a fresh harmonic landscape with seven distinct diatonic chord functions, all while staying within the same key signature.
The natural connection between these relative keys allows for engaging harmonic interplay. This change in the central note adds depth and enables contrasting emotional expressions between different parts of a musical piece.
Modulating between relative keys is a well-established and effective compositional technique. For example, moving to B flat major can evoke a feeling of lightness and optimism, while returning to G minor can create a sense of introspection or resolution.
Parallel chords use accidentals to introduce unexpected harmonic colors by shifting a chord's quality. For instance, within G minor, changing the subdominant chord from C minor to C major (by raising the E flat to E natural) produces a distinct change in emotional feel.
This technique can inject an element of surprise and subtly alter the prevailing mood. A typical application is the parallel major tonic, G major, within the context of G minor, offering a bright contrast to the established minor tonality. This major tonic chord at the end of a minor key piece is often called a Picardy third.
It's worth noting that overusing parallel chords can blur the sense of the central key and weaken harmonic stability. However, when implemented strategically, they can emphasize crucial moments and enrich the overall harmonic fabric of a song.
Just as punctuation shapes the meaning and flow of language, cadences articulate and emphasize musical phrases, providing structure and emotional impact. Think of them as musical punctuation marks defining a piece's emotional arc.
By skillfully using a variety of cadences, composers and producers can create a wide range of expressive effects, from powerful and dramatic peaks to delicate and reflective endings.
Let's explore some common cadences in the G minor key.
The classic dominant-tonic cadence offers a strong feeling of resolution, effectively marking the conclusion of a musical phrase or an entire piece. This clear ending provides a sense of musical finality. For the most powerful resolution, known as a perfect cadence, both the dominant and tonic chords must be in root position, and the melody of the tonic chord must end on its root note.
Dominant → Tonic (V - i)
D major → G minor
To heighten the resolution to the tonic, use a dominant seventh chord.
D7 → G minor (V7 - i)
In contrast to the definitive resolution of a perfect cadence, the plagal cadence, often referred to as the "Amen" cadence, offers a gentler sense of closure. Its mild and peaceful quality makes it a common choice in hymns, where the subdominant (iv) to tonic (i) progression frequently accompanies the concluding phrase "Amen".
Subdominant → Tonic (iv - i)
Cm → Gm
Unlike the conclusive nature of perfect and plagal cadences, the half cadence ends on the dominant chord, leaving a feeling of harmonic open-endedness. This unresolved quality builds anticipation, making the eventual resolution to the tonic even more satisfying and contributing to the music's dynamic ebb and flow.
Tonic, or Supertonic, or Subdominant → Dominant: (i / ii° / iv → V)
Gm → D
A° → D
Cm → D
The interrupted, or deceptive, cadence sets the expectation for a strong resolution but then unexpectedly moves to the submediant chord instead. This harmonic surprise creates a feeling of delayed resolution and can also serve as a smooth way to transition to a new key center.
Dominant to Submediant (V - VI)
D → Eb
Even though diatonic harmony draws from a limited set of seven triads and their inversions, it holds a remarkable potential for expressive music. You can write compelling and engaging chord progressions using just these fundamental elements.
While harmonic theory can become complex and lead to fascinating progressions, a solid understanding of diatonic chords is paramount. This inherent stability provides a crucial foundation for building more elaborate harmonic structures and establishing a clear tonal center.
Traditional music theory categorizes diatonic chords as primary (i, iv, v in minor) and secondary (ii°, III, VI, VII in minor). The primary chords are essential for defining the key and providing tonal grounding, creating a balance of tension, anticipation, and release.
The secondary chords offer contrasting moods and enrich the overall harmonic palette. Analyzing songs often reveals a deliberate reliance on primary chords, with secondary chords strategically employed to introduce variety and color.
Extended chords and accidentals should be used purposefully. Their power lies in creating heightened color and drama, but overuse can disrupt the stability of the harmony. Thoughtful and intentional application ensures clarity and maximizes their impact.
Naturally, the tonality vs. atonality, stability, or harmonic cohesion you want depends significantly on the musical context. Regardless, a solid understanding of the foundations of key signatures is essential to know how to aim for harmonic stability or not.
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