To write compelling melodies and harmonies, music producers of all skill levels must have a solid grasp of the harmonic structure and foundation within any key signature. Understanding the function of each chord within a scale is crucial for balancing tension and release in music.
In this article, we'll delve into the harmonic landscape of B minor. We'll explore:
By the end of this article, you'll be equipped to write captivating chord progressions in B minor.
There are three primary types of minor scales: natural, harmonic, and melodic. Unless specified otherwise, the term "minor key" typically refers to the natural minor scale.
The B Minor scale is constructed using a unique pattern of whole and half steps, a pattern characteristic of the Aeolian mode.
Each note within a scale occupies a specific position, known as scale degree. This degree directly correlates to the chord's harmonic function, which determines its role within the key. Every note holds a distinct scale degree, highlighting its connection to the tonic note B.
The harmonic function of each chord is determined by its level of tension or resolution in relation to the tonic chord, the tonal center of the key. Essentially, it measures a chord's stability or instability in the context of the tonic.
Roman numerals are used to indicate both a chord's harmonic function and its quality (major or minor). Uppercase Roman numerals represent major chords, while lowercase means minor chords. The specific Roman numeral corresponds to the scale degree and harmonic function of the chord.
The diatonic notes, which naturally occur when following the Aeolian pattern of half and whole steps, form the foundation of the key signature. The remaining notes, known as chromatic notes, are not inherent to the Aeolian B minor scale but can be used for melodies or chords.
A strategic use of chromatic notes adds unique harmonic color, tension, and release to the music.
A common practice in minor scales is to raise the seventh scale degree by a half-step. This alteration, known as the harmonic minor scale, creates a major dominant chord rather than a minor one.
This major dominant chord contains a leading tone, which is only a half-step away from the tonic. This powerful leading tone generates a stronger pull towards the tonic, making the resolution more definitive and satisfying compared to the natural minor scale.
Notes that are raised or lowered by a half step are called an accidental. These modifications are denoted by sharp (♯) and flat (♭) symbols. To indicate that a note returns to its original diatonic pitch, a natural (♮) symbol is used.
Additionally, chromatic notes are excellent for modulating to different keys or simply altering the quality of the chords in B minor for a different harmonic flavor. We’ll explore this further in the section “Adding Complexity to B Minor Chords".
The tonic note serves as the foundation of the scale and key signature, providing stability and resolution. Chord progressions that resolve to the tonic chord evoke a sense of completeness, akin to returning home.
The diminished supertonic in a minor scale generates tension and frequently resolves to the dominant chord or to the tonic.
The tonic and mediant chords, though sharing two notes, offer contrasting harmonic colors due to their major and minor qualities. The mediant chord is a great tonic substitute. By strategically replacing the tonic with the mediant, especially in verses, you can enhance the impact of the tonic chord, particularly in climactic moments like choruses or powerful cadences.
The mediant is where the relative major key signature is found in a minor key.
The submediant chord creates anticipation by departing from the key's tonal center. It transitions smoothly to both the dominant and tonic chords. The major VI chord can serve as a suitable substitute for the tonic and sounds good succeeding the subdominant.
Dominant chords are inherently unstable, creating a strong pull towards resolution, typically to the tonic. The dominant seventh chord, built on the fifth scale degree, contains a dissonant tritone interval that intensifies this pull, resulting in the most powerful resolutions in Western music.
The submediant chord transitions smoothly to the tonic, subdominant, and dominant chords, creating anticipation and tension. It's often used to add color and variety to chord progressions.
In minor keys particularly, the submediant can be used as a tonic substitute for a more nuanced and interesting harmonic palette.
Its major quality makes for a seamless transition to the tonic. Additionally, the subtonic chord can function as a pre-dominant chord, leading to the dominant and creating anticipation and tension. This makes it a valuable tool for adding color and depth to your harmonic palette.
Diatonic chords in B minor are divided into primary and secondary chords. Primary chords form the backbone of harmonic progressions, while secondary chords add richness and complexity.
Experiment with different chord intervals to understand the relationships between the diatonic chords. Start with the tonic chord and explore the intervals of each chord in the key.
Chord inversions also alter the sound and tonality of a chord, which is why it’s important to experiment with different inversions and combinations. A tonic chord in second inversion leading to a subdominant chord in first inversion has a different quality than the same progression in root position. Inversions can increase tension and instability.
A strong foundation in scale patterns and intervals is essential for writing well-structured melodies and harmonies with good voice leading. Good voice leading minimizes large leaps between notes.
An effective way to learn to recognize intervals is to associate them with familiar songs. Our Ear Training article provides a list of songs that utilize each interval, both ascending and descending.
A cadence is a musical punctuation. Just as punctuation marks structure and emphasize written language, cadences structure and emphasize musical phrases. They are the musical equivalent of punctuation, influencing the emotional impact of a piece. By varying cadences, producers and composers can create a wide range of musical expressions, from dramatic climaxes to serene conclusions.
Next, we’ll delve into common cadences in the key of B minor.
Dominant → Tonic (V - i)
F# → Bm
The perfect cadence, a progression from the dominant to the tonic, provides the strongest resolution for musical phrases. It's one of the most common ways to conclude songs or larger musical pieces and is perhaps the most recognizable musical "ending."
For an even more powerful resolution, a dominant seventh chord is used.
F#7 → Bm (V7 - i)
To achieve a perfect cadence, two conditions must be met: both chords must be in root position (the root of each chord is the lowest note), and the highest voice of the tonic chord must also be the root note. These conditions ensure the strongest possible resolution.
Subdominant → Tonic (iv - i)
Em → Bm
The plagal cadence, often referred to as the "Amen Cadence," offers a softer and more gentle conclusion compared to the perfect cadence. This gentler quality has been frequently used in traditional hymns to accompany the word "Amen," typically ending on the interval IV-I.
Tonic, or Supertonic, or Subdominant → Dominant: (i / ii / iv → V)
Bm→ F#
C#° → F#
Em → F#
A half cadence is a phrase that concludes on the dominant chord. Unlike perfect and plagal cadences, which provide a definitive conclusion, the dominant chord is inherently unstable and leaves the phrase feeling incomplete.
Ending a phrase on the dominant can be a powerful technique to build anticipation and energy. Starting the following section on the tonic can create a sense of forward momentum, and adds to the dynamic and emotional journey of your music.
Dominant to Submediant (V - VI)
F# → G
The interrupted cadence initially suggests a strong and definitive resolution. However, it takes an unexpected turn and concludes on the submediant. If the music modulates to the relative minor key, this cadence can function as a transition into the new tonal center.
Dominant 7th to Major tonic (V7 – i)
F#7 → B
To create a more hopeful ending in a minor key piece, you can raise the third scale degree of the final chord. This technique, known as the Picardy third, allows for a resolution in the parallel major key, providing a brighter and more uplifting conclusion.
Here, we'll explore some interesting chord progressions in the key of B minor. We'll highlight the strategic use of the mediant and submediant as substitute tonic chords, and delve into various cadences.
Remember, a cadence is more than just the final two chords of a progression. It's a deliberate punctuation mark. A I-V-I sequence isn't a perfect cadence unless it concludes a musical phrase.
Let's explore common chord progressions in B minor:
This chord progression we hear in Aviici’s “Wake Me Up”. What’s somewhat unusual is that there’s only one primary chord until the final chord of the progression. This can make the repetitiveness of the chords feel aimless.
In "Wake Me Up," the dominant chord is the only other primary chord used in the progression, and it only appears at the end of the second repetition, replacing the major VII chord.
This delayed introduction of the dominant chord creates a powerful impact, providing a sense of direction and resolution that significantly enhances the overall musical experience.
Note that Aviici uses the minor dominant chord here, instead of the more common major dominant.
This chord progression from Bob Marley's "Jammin'" is a great example of how a simple chord progression can be elevated through the strategic use of a chromatic chord. The major IV chord (E7) adds an unexpected and uplifting quality to the progression, contrasting with the minor tonality and creating a sense of harmonic tension and release.
This chord progression stays close to the tonality of the tonic. Both the mediant and submediant chords share two notes with the root chord, reinforcing the tonal center. The primary harmonic tension arises from the major dominant chord at the end of the progression.
This exact chord progression is heard in “Let’s Get It Started” by Black Eye Peas.
In the chorus to Lady Gaga’s “Alejandro” we hear this chord progression. In her song, the submediant functions as a tonic substitute. It shares a similar tonality to B minor, but offers a major quality while adding a sense of uplifting energy.
VII chords typically resolve to the tonic, but in this case, it transitions to the mediant, which can also function as a tonic substitute. By utilizing both the mediant and submediant chords before the tonic, the resolution to the tonic is softened.
This chord progression lacks clear harmonic tension and release, as it only uses one primary chord.
The verse of Alejandro, on the other hand is i - III - v which has a clearer sense of direction.
The epic and emotional song "The Show Must Go On" by Queen effectively utilizes this chord progression in its chorus. The alternation between minor and major chords creates a powerful emotional impact, conveying a sense of hopefulness that resonates throughout the song.
This strategic use of harmonic shifts enhances the dramatic and uplifting, yet emotional nature of the song.
This chord progression in "Story of the Year" by Until the Day I Die is a great example of how delaying gratification can enhance musical impact. By withholding the tonic chord and other primary chords, the progression builds anticipation, making the eventual resolution to the tonic chord all the more impactful.
This technique can be used to create tension and release, making your music more dynamic and engaging.
While the key signature and mode provide a foundation of diatonic notes and chords, they're not the only options available. By incorporating chromatic notes, we can expand the harmonic palette, creating richer and more interesting chord progressions and melodies.
Chromatic notes are the building blocks for diminished, augmented, and parallel major or minor chords as well as chords that are completely unrelated to the original key signature.
Another way to expand the harmonic palette is to modulate to the relative key, which we'll explore briefly below.
Every minor key has a corresponding major key, and vice versa. These relative key signatures share the same notes but differ in their tonal centers and how chords function within the key.
Modulating to D Major opens up a new tonal landscape with seven distinct diatonic chord functions, all within the same key signature. For a more in-depth exploration of this key, check out the article "Learn the Chords in D Major."
The close relationship between D major and B minor offers exciting harmonic possibilities. This subtle tonal shift can add depth and create distinct emotional colors for different parts of a song.
Modulating between relative keys is a common technique. For instance, transitioning to B minor can create a more melancholic atmosphere, while returning to D major can evoke a brighter, more energetic mood.
Temporarily modulating to different key signatures or altering chord qualities is a powerful technique to add musical depth and harmonic interest. By highlighting specific moments in a song without disrupting the overall tonality, you can create dynamic and engaging musical passages.
In the next section, we'll explore parallel chords and secondary dominants. These two simple techniques can add richness and complexity to even the most straightforward chord progressions.
Parallel chords, created by altering the quality of a chord through accidentals, offer unexpected harmonic twists. For example, lowering the third of the submediant chord from B to B♭ in a chord progression creates a G minor chord, which has a distinct emotional impact compared to the diatonic major submediant.
Furthermore, occasionally using B major as the tonic can add an unexpected lift in your music.
Remember to use parallel chords carefully and sparingly. Overusing parallel chords can lead to a loss of tonal focus, making it difficult to establish a clear harmonic center.
A secondary dominant is a borrowed chord that temporarily acts as a dominant chord from a different key. In essence, secondary dominants allow us to introduce a V7-i resolution from a different tonal center, adding depth and complexity to the harmonic landscape.
One of the most common secondary dominants is the "dominant of the dominant" (V/V). In B minor, the dominant chord is F#. The dominant of F# is C#. Therefore, the dominant of the dominant is C#7. This is a chromatic chord in B major but works really well in the right harmonic context.
By placing the V/V before the diatonic dominant chord, we create a V-i resolution from the key of F# major, adding a layer of harmonic intrigue.
Example:
Let’s add a V/V to a simple i - V - i progression to see how it enhances it.
i - iv - V/V - V - i
Bm - Em - C#7 - F#7 - Bm
As we've seen, even a basic understanding of music theory and a few harmonic techniques can significantly enhance the harmonic interest of a song. With a solid grasp of music theory, you can write music with purpose and solve problems that arise in music production, such as how to connect two ideas or how to develop something with interest (the answer could involve modulating to different keys using a secondary dominant or by targeting an interrupted cadence).
When you collaborate with Musiversal's musicians, you'll quickly realize how music theory can help you communicate your ideas and actively bring your music to life. Music theory allows you to effectively communicate your music ideas and discuss how to best solve problems.
For instance, if your chord chart includes chromatic chords, it might feel a bit jarring to the performer. But by writing V/V or V/ii, the musician can approach it with better intention and specific voice leading (depending on the instrument).
If you need guidance in writing engaging chord progressions or adding harmonic depth, our pre-production and songwriting experts are here to assist you.
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