Understanding how chords, intervals, and chord progressions sound in different keys is crucial for writing music with purpose. Knowing the available musical elements in any given key signature allows you to elevate your compositions melodically and harmonically.
By unlocking the ability to create more intricate harmonies, employ key changes, utilize parallel and borrowed chords, and explore other musical techniques, you can take your music to a whole new level of sophistication.
In this article, we will delve into the world of chords in D minor, examining the harmonic function of each chord, cadences used to conclude musical phrases, and common chord progressions within the key of D minor. Additionally, we will explore how to add depth and intrigue to your chord progressions in D minor by incorporating parallel chords and secondary dominants.
There are three primary minor scales: natural, harmonic, and melodic. Unless otherwise specified, "minor key" typically refers to the natural minor scale, which is what we’ll explore here.
The D natural minor scale consists of the following pattern of whole steps (w) and half steps (h):
Each note in a scale has a specific position known as a scale degree. These scale degrees indicate its relationship to the tonic (root) of the key.
Every note in the scale can be used to create a chord, and each chord has a specific function within the key signature. Think of each chord function as how much tension or resolution it creates in relation to the tonic.
Roman numerals are used to indicate the position and harmonic function of the chord as well as describing its quality. Uppercase means major and lowercase means minor.
Notes that naturally appear in the scale based on the natural minor interval pattern are called diatonic notes. Chromatic notes are not part of the scale, but can add specific melodic and harmonic depth and interest.
In minor scales it’s common to raise the seventh scale degree by a half step. In D minor that means raising C to C♯. As a result the dominant chord becomes major instead of minor.
This chromatic alteration creates a leading tone which has a much stronger pull towards the tonic and results in much more definite cadences (which we’ll return to later in the article).
Altered scale notes are called accidentals and are marked as sharps (♯), flats (♭) or natural (♮) to indicate that it’s gone back to its original pitch.
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D minor serves as the foundation of the key, offering a sense of stability, resolution and familiarity. Beginning and ending a musical chord progression on the tonic chord creates a natural and satisfying sense of closure. This sense of home and resolution is fundamental to musical structure.
Due to its dissonant nature, the diminished chord is often used primarily as a passing chord in rock and pop music to facilitate transition between chords. Passing chords helps to avoid abrupt changes in harmony, creating a more fluid and melodic flow.
The dissonance and tension created by diminished chords are one of the cornerstones in jazz music. Diminished chords can add a unique and intriguing depth enhancing harmonic complexity and interest.
The mediant chord introduces a brighter, more uplifting quality to a chord progression. Since F major shares two notes with the tonic, the transition between the two chords is particularly smooth.
In a minor key, the mediant chord functions as the tonic chord of the relative major key. This means that the third scale degree of a minor key is also the first scale degree of the related F major key signature. We’ll return to the relative keys below.
The subdominant chord introduces a sense of anticipation and harmonic contrast to the tonic chord. Its versatility offers a range of possibilities for chord progressions. Moving to the dominant chord will further build tension, while moving to the tonic chord can provide a satisfying resolution.
Moving to the submediant adds depth and a sense of stability within the same tonality as the tonic chord but with a major quality.
The dominant is the most unstable chord within a key, characterized by a strong sense of tension and a compelling drive toward resolution, often to the tonic chord. The major dominant chord in a minor is particularly powerful and useful for string musical punctuation.
The Submediant can be used as a deceptive tonic since Bb shares two notes with the D minor. This can be a great way to complete a music phrase without providing the full definite resolution that the tonic offers.
It’s commonly used as a pre- pre dominant chord which means it’s followed by a chord with a subdominant function, such as the ii or iv.
By sticking to natural minor the VII chord is C major which has a strong desire to resolve to the tonic. However, utilizing the raised 7th scale degree would give us C# which has an even stronger gravitational pull for a tonic resolution.
The choice between these two options depends on the desired musical direction. For a chord progression without a strong sense of direction, C major might be the most suitable option. As a passing chord the C# might offer more depth and harmonic interest.
Chords are divided into two harmonic categories: Primary chords and secondary chords. Primary chords offer the fundamental harmony in any chord progression. Secondary chords provide more interest by expanding the harmonic color palette.
To delve deeper into the harmonic relationships between chords and how their function sounds in practice, experiment with various combinations. Start on the tonic chord and explore the harmonies of every interval to both primary and secondary chords.
This will enhance your understanding of how each combination sounds and functions within the harmonic context. Experiment with different inversions of each chord to see how that alters the sound. Chord inversions are useful for better voice leading and smoother chord transitions.
Doing this will expand your knowledge of chords and intervals, enabling you to write more interesting chord progressions.
To write well-structured melodies and harmonies, it’s fundamental to have a solid understanding of scale patterns and intervals. Knowing where half and whole steps are will allow you to write more emotional chord progressions. It’ll also help with voice leading by reducing large leaps between notes as you transition between chords.
A cadence is a sequence of chords that marks the end of a musical phrase. Different cadences serve various purposes within a song. Some cadences provide a more definitive sense of closure and resolution than others.
Cadences are like musical punctuation and they shape the emotional impact of your music. A strong cadence can emphasize a musical statement or create a sense of finality, while a more ambiguous cadence can leave the listener feeling intrigued or unsettled.
By strategically using different types of cadences throughout a song, you can infuse your music with greater emotional depth. Reserving the most powerful cadences for key moments can enhance the overall emotional impact of your composition.
Here we’ll look at a few of the most common cadences in D minor.
The perfect cadence is the most definitive and satisfying cadence, characterized by a strong sense of resolution. An even stronger resolution can be achieved by using the dominant 7th chord, which creates an even stronger gravitational pull towards the tonic chord.
Both chords must be in root position for it to be considered a perfect cadence. Some further argue that the top voice of the final chord must be the root note to further emphasize the tonality of the tonic.
The plagal cadence offers a gentler resolution compared to the perfect cadence. This cadence is also known as the "Amen cadence due to its frequent use in traditional hymns.
The half cadence resolves to the fifth scale degree, the dominant chord, which lacks the definitive sense of closure and finality provided by the tonic. This can be great when building to a strong chorus or other key moments of a song.
The interrupted cadence tends to suggest a strong resolution, like perfect cadence in a I - V - I interval, but concludes on the VI chord instead. This unexpected turn adds a sense of intrigue and surprise to the music, disrupting the listener's expectations and creating a more dynamic and engaging harmonic progression.
Raising the third scale degree of the tonic chord and concluding a song in a minor key with a major chord is known as the Picardy third. This technique offers a more uplifting resolution compared to the inherent somber quality of the minor tonic chord.
In this section, we'll explore some captivating chord progressions in D minor. Pay close attention to how certain chords are used, such as the mediant or submediant as substitutes for the tonic chord and specific cadences.
Remember that not every final two-chord combination constitutes a cadence. A cadence is a particular type of musical punctuation, not simply any ending chords of a phrase.
Now, let's delve into common D minor chord progressions.
A simple yet powerful D minor chord progression, found in both Phil Collins' “In the Air Tonight”and Gotye's “Somebody That I Used to Know” demonstrates how a straightforward harmonic structure can result in vastly different musical results.
This is a great progression that never hit a true peak due to the lack of a Chord V and the V - I resolution. It simply stays close to home with the D minor and the F major then adds anticipation with the C and the Gm.
Omitting the dominant chord is a clever trick that allows for chord progressions to wander or be looped to create a sense of ambiguity and suspense. This is why this progression is often used in pop music.
“Set Fire to the Rain” by Adele is a great example of exactly this ambiguity and melancholy while repeating the chords and melodic motif.
If we take a closer look at Kylie Minogue's “Can't Get You Outta My Head” we see an interesting interplay of simplicity and slightly more complex harmonic elements. We can look at this progression as a very simple i - v progression with the F and C only functioning as passing chords.
However, these simply passing chords add so much musicality and movement to the entire song. Additionally, the second repetition introduces a subtle shift from Am to A major in the Dominant position. This increases the harmonic tension and draws the listener towards the tonic resolution as a way to punctuate the music.
Muse's "Uprising" features a unique chord progression that blends two harmonic ideas. The initial D minor progression establishes a sense of completion without creating too much tension.
However, instead of repeating these intervals, the music shifts into a descending sequence, creating much more tension and anticipation. This descending chord progression gradually resolves back to the tonic, providing a satisfying conclusion.
Tove Lo’s “Habits” features a simple yet captivating D minor chord progression that effectively utilizes inversions. By starting on the VI chord, the song immediately establishes a sense of intrigue. The progression then transitions to the tonic, followed by two inverted chords—an inverted D minor and an inverted Bb major.
The strategic use of inversions adds movement and interest to the progression while maintaining the song’s tonal center. This technique also facilitates smooth voice leading by reducing the distance between notes, resulting in a more fluid and melodic line.
This technique is another great example you can do a lot with as little as two chords.
The key of a song and its corresponding scale are connected, but strictly speaking not the same thing. Songs in D minor aren’t restricted to using only the diatonic chords. These chords are guaranteed to work harmonically, but there are many more options available. For example, the Major Dominant in a minor key, isn’t a diatonic chord, but works really well.
To sharpen or flatten notes is a great way to add interest and harmonic depth to the chords as it allows you to change chord qualities or create augmented and diminished chords.
The relative key is another great option to add more interest to your music, which we’ll discuss next.
All key signatures have a corresponding scale of the opposite quality. These two keys share the exact same notes, but a different tonic and tonal center.
In a minor scale, the relative major key is found on the third scale degree, the mediant. In D minor that’s F.
In a major scale, the relative minor key is found on the sixth scale degree, the submediant. In F major that relative minor is D minor.
Shifting the tonic chord alters the harmonic functions and roles of each chord within the key. Read the article Learn the Chords in F Major for more information on this topic.
Due to their close relationship, modulating between a minor key and its relative major key can add variety and harmonic interest to your music while maintaining a similar tonality. Different keys can be used to make the distinction between certain sections in your song more prominent.
Songs in D minor can modulate to F major to introduce a more energetic and uplifting tone. Similarly, transitioning to the relative minor key can create a somber and introspective atmosphere.
Temporarily moving away from diatonic chords can be a powerful tool for adding harmonic interest and depth to your music. By understanding the underlying principles of diatonic and chromatic notes and chords, you can expand your musical palette and enrich the harmonic landscape in your music.
A parallel chord is created by changing the quality of a chord, such as major to minor or vice versa, while keeping the root note the same. For example, using a major subdominant chord instead of the standard minor iv chord can introduce a fresh harmonic element. This is great for accentuating specific sections of a song, or simply provide a refreshing change from repetitive patterns.
A secondary dominant chord is a borrowed chord that temporarily shifts the harmonic center of a song. It does this by acting as the dominant chord of a key other than the main key signature. In effect, this creates a V - I borrowed from a different key. This creates a sense of tension and resolution, movement, while adding complexity to the harmonic structure.
Dominant chords are built on the fifth scale degree. And the most common secondary dominant chord is the one based on Chord V - i.e, the dominant of the original key signature. In D minor, chord V is A major, so the secondary dominant would be E major, which is the dominant of A major. This secondary dominant is therefore “the dominant of the dominant” (V/V).
Example:
Let’s take a simple i - V - i progression and see how a secondary dominant can make it much more interesting. By adding a V/V before the Chord V we effectively get a V - I progression from the key of A major (Emaj - Amaj).
The Amaj is succeeded by Dmin which is a resolution to the tonic in the key of D minor. To make a more powerful perfect cadence we can use the picardy third as the last chord.
i - V/V - V - I
Dm - E - A - D
By grasping the fundamental concepts of music theory, such as the relationships between notes, chords, and key signatures, you can quickly elevate your songwriting and composition skills. It allows you to write compelling chord progression with more depth and interest.
Effective communication is key when collaborating with session musicians. Clearly articulating your musical vision empowers them to accurately interpret and execute your ideas.
Utilizing specific notation techniques in chord charts, such as ‘V/V,’ can guide musicians in understanding harmonic relationships and creating seamless transitions between chords.
While non-diatonic chords can add color and complexity, they should be used judiciously to avoid unwanted dissonance and ensure smooth voice leading. Understanding the motivation behind chord changes enables musicians to shape their performance to align with your artistic intent.
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