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A minor to F minor what is it called, what did I do?
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I'm a beginner piano player and theorist and played around on the piano and came across this progression from Am to Fm which has a very grim and black metalesque/dungeon synthy sound. Couldn't find any songs with this progression using hooktheory
I can't fit it into a chord progression I know of and don't know how to continue this nice grim sound. Can anyone point in a direction where to look further for the underlying theory?
Continuing with Dm E sound ok, but not as convincing as Am to Fm.
theory chord-progressions
asked 7 hours ago
Viktor Mellgren
1514
add a comment |Â
up vote
2
down vote
favorite
I'm a beginner piano player and theorist and played around on the piano and came across this progression from Am to Fm which has a very grim and black metalesque/dungeon synthy sound. Couldn't find any songs with this progression using hooktheory
I can't fit it into a chord progression I know of and don't know how to continue this nice grim sound. Can anyone point in a direction where to look further for the underlying theory?
Continuing with Dm E sound ok, but not as convincing as Am to Fm.
theory chord-progressions
asked 7 hours ago
Viktor Mellgren
1514
You could finish the circle by moving to C#/Db minor.
– Matt L.
6 hours ago
add a comment |Â
up vote
2
down vote
favorite
up vote
2
down vote
favorite
I'm a beginner piano player and theorist and played around on the piano and came across this progression from Am to Fm which has a very grim and black metalesque/dungeon synthy sound. Couldn't find any songs with this progression using hooktheory
I can't fit it into a chord progression I know of and don't know how to continue this nice grim sound. Can anyone point in a direction where to look further for the underlying theory?
Continuing with Dm E sound ok, but not as convincing as Am to Fm.
theory chord-progressions
asked 7 hours ago
Viktor Mellgren
1514
I'm a beginner piano player and theorist and played around on the piano and came across this progression from Am to Fm which has a very grim and black metalesque/dungeon synthy sound. Couldn't find any songs with this progression using hooktheory
I can't fit it into a chord progression I know of and don't know how to continue this nice grim sound. Can anyone point in a direction where to look further for the underlying theory?
Continuing with Dm E sound ok, but not as convincing as Am to Fm.
theory chord-progressions
theory chord-progressions
asked 7 hours ago
Viktor Mellgren
1514
asked 7 hours ago
Viktor Mellgren
1514
asked 7 hours ago
Viktor Mellgren
1514
asked 7 hours ago
Viktor Mellgren
1514
asked 7 hours ago
Viktor Mellgren
1514
1514
You could finish the circle by moving to C#/Db minor.
– Matt L.
6 hours ago
add a comment |Â
You could finish the circle by moving to C#/Db minor.
– Matt L.
6 hours ago
You could finish the circle by moving to C#/Db minor.
– Matt L.
6 hours ago
You could finish the circle by moving to C#/Db minor.
– Matt L.
6 hours ago
add a comment |Â
4 Answers
4
active
oldest
votes
up vote
5
down vote
Chromatic mediant is the technical name
https://en.wikipedia.org/wiki/Chromatic_mediant
This is where the chord roots are a third apart and there is one common tone.
So with Fm and Am you have:
F, A flat, C
A, C, E
So the "C" is the common tone, and F and A chord roots are a third apart.
I think part of what makes the great sound is that the two moving voices move by half steps. Half steps are important with many chord resolutions/tendency tones.
Also, notice in that wiki article the example from Mozart K. 475 where the chromatic mediant relationship and the common tone are used to make a common-tone modulation to a distant key. So on a very large scale you could think of the Fm and Am relationship in terms of a key change.
A little add on for Dm and E.
I assume you mean E (major.)
Let's look at those pitches:
Dm = D, F, A
E = E, G#, B
If we put those in order: D, E, F, G#, A, B
One thing that should jump out is the F to G#. That happens to be an augmented second. To fast forward a bit... an augmented second comes up in the harmonic minor scale. In this case the G# is the leading tone of the A harmonic minor scale. The full scale being A, B, C, D, E, F, G#, A. Dm and E function as the iv and V in A minor.
If you are just going back an forth from Dm to E you are sort of hovering around the dominant V chord. Typically you would move from the domimant to the tonic i chord Am. You could try going to Am as part of that progression.
edited 5 hours ago
Dom♦
35k18100215
answered 6 hours ago
Michael Curtis
3,284319
add a comment |Â
up vote
1
down vote
A different way of looking at what you did - and more importantly, where else you can go, is the fact that you've used two chords from parallel keys. C major and C minor. The Am is from C maj. and the Fm from Cm.
'Borrowing' chords in this way works well, and now gives you quite a few choices as to what else may suit your needs. Any of the 7 from C major, and any of the 7 from C minor!
answered 4 hours ago
Tim
92.7k1094235
add a comment |Â
up vote
0
down vote
That could be called a chromatic mediant of A minor. Notice how the note C, the 3rd of A minor, is carried over to the F minor chord.
answered 6 hours ago
user45266
1,387323
add a comment |Â
up vote
0
down vote
We call this a chromatic mediant relationship.
To put it simply, two chords are chromatic mediants of each other if their roots are a third apart and they share one common tone. In the case of A minor and F minor, the common tone is C. Furthermore, note that the two remaining voices move by half step into the second chord: the A in A minor moves to A♠in the F-minor chord, and the E of A minor moves to the F in the F-minor chord. The smooth voice leading is what helps to keep this progression together.
But note that F minor is not the only chord that fits this definition. There are three other chromatic mediants to this A-minor chord: C♯ minor, C minor, and F♯ minor.
As it turns out, chromatic mediants are the same quality as the original chord. So if you want to quickly find the four chromatic mediants of a harmony, find the roots located up and down a major and minor third from the root, and remember that those triads will be the same quality (major or minor) as the original chord.
answered 6 hours ago
Richard
34.4k675145
darn, you beat me to it
– Michael Curtis
6 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
– Richard
6 hours ago
add a comment |Â
4 Answers
4
active
oldest
votes
4 Answers
4
active
oldest
votes
active
oldest
votes
active
oldest
votes
up vote
5
down vote
Chromatic mediant is the technical name
https://en.wikipedia.org/wiki/Chromatic_mediant
This is where the chord roots are a third apart and there is one common tone.
So with Fm and Am you have:
F, A flat, C
A, C, E
So the "C" is the common tone, and F and A chord roots are a third apart.
I think part of what makes the great sound is that the two moving voices move by half steps. Half steps are important with many chord resolutions/tendency tones.
Also, notice in that wiki article the example from Mozart K. 475 where the chromatic mediant relationship and the common tone are used to make a common-tone modulation to a distant key. So on a very large scale you could think of the Fm and Am relationship in terms of a key change.
A little add on for Dm and E.
I assume you mean E (major.)
Let's look at those pitches:
Dm = D, F, A
E = E, G#, B
If we put those in order: D, E, F, G#, A, B
One thing that should jump out is the F to G#. That happens to be an augmented second. To fast forward a bit... an augmented second comes up in the harmonic minor scale. In this case the G# is the leading tone of the A harmonic minor scale. The full scale being A, B, C, D, E, F, G#, A. Dm and E function as the iv and V in A minor.
If you are just going back an forth from Dm to E you are sort of hovering around the dominant V chord. Typically you would move from the domimant to the tonic i chord Am. You could try going to Am as part of that progression.
edited 5 hours ago
Dom♦
35k18100215
answered 6 hours ago
Michael Curtis
3,284319
add a comment |Â
up vote
5
down vote
Chromatic mediant is the technical name
https://en.wikipedia.org/wiki/Chromatic_mediant
This is where the chord roots are a third apart and there is one common tone.
So with Fm and Am you have:
F, A flat, C
A, C, E
So the "C" is the common tone, and F and A chord roots are a third apart.
I think part of what makes the great sound is that the two moving voices move by half steps. Half steps are important with many chord resolutions/tendency tones.
Also, notice in that wiki article the example from Mozart K. 475 where the chromatic mediant relationship and the common tone are used to make a common-tone modulation to a distant key. So on a very large scale you could think of the Fm and Am relationship in terms of a key change.
A little add on for Dm and E.
I assume you mean E (major.)
Let's look at those pitches:
Dm = D, F, A
E = E, G#, B
If we put those in order: D, E, F, G#, A, B
One thing that should jump out is the F to G#. That happens to be an augmented second. To fast forward a bit... an augmented second comes up in the harmonic minor scale. In this case the G# is the leading tone of the A harmonic minor scale. The full scale being A, B, C, D, E, F, G#, A. Dm and E function as the iv and V in A minor.
If you are just going back an forth from Dm to E you are sort of hovering around the dominant V chord. Typically you would move from the domimant to the tonic i chord Am. You could try going to Am as part of that progression.
edited 5 hours ago
Dom♦
35k18100215
answered 6 hours ago
Michael Curtis
3,284319
add a comment |Â
up vote
5
down vote
up vote
5
down vote
Chromatic mediant is the technical name
https://en.wikipedia.org/wiki/Chromatic_mediant
This is where the chord roots are a third apart and there is one common tone.
So with Fm and Am you have:
F, A flat, C
A, C, E
So the "C" is the common tone, and F and A chord roots are a third apart.
I think part of what makes the great sound is that the two moving voices move by half steps. Half steps are important with many chord resolutions/tendency tones.
Also, notice in that wiki article the example from Mozart K. 475 where the chromatic mediant relationship and the common tone are used to make a common-tone modulation to a distant key. So on a very large scale you could think of the Fm and Am relationship in terms of a key change.
A little add on for Dm and E.
I assume you mean E (major.)
Let's look at those pitches:
Dm = D, F, A
E = E, G#, B
If we put those in order: D, E, F, G#, A, B
One thing that should jump out is the F to G#. That happens to be an augmented second. To fast forward a bit... an augmented second comes up in the harmonic minor scale. In this case the G# is the leading tone of the A harmonic minor scale. The full scale being A, B, C, D, E, F, G#, A. Dm and E function as the iv and V in A minor.
If you are just going back an forth from Dm to E you are sort of hovering around the dominant V chord. Typically you would move from the domimant to the tonic i chord Am. You could try going to Am as part of that progression.
edited 5 hours ago
Dom♦
35k18100215
answered 6 hours ago
Michael Curtis
3,284319
Chromatic mediant is the technical name
https://en.wikipedia.org/wiki/Chromatic_mediant
This is where the chord roots are a third apart and there is one common tone.
So with Fm and Am you have:
F, A flat, C
A, C, E
So the "C" is the common tone, and F and A chord roots are a third apart.
I think part of what makes the great sound is that the two moving voices move by half steps. Half steps are important with many chord resolutions/tendency tones.
Also, notice in that wiki article the example from Mozart K. 475 where the chromatic mediant relationship and the common tone are used to make a common-tone modulation to a distant key. So on a very large scale you could think of the Fm and Am relationship in terms of a key change.
A little add on for Dm and E.
I assume you mean E (major.)
Let's look at those pitches:
Dm = D, F, A
E = E, G#, B
If we put those in order: D, E, F, G#, A, B
One thing that should jump out is the F to G#. That happens to be an augmented second. To fast forward a bit... an augmented second comes up in the harmonic minor scale. In this case the G# is the leading tone of the A harmonic minor scale. The full scale being A, B, C, D, E, F, G#, A. Dm and E function as the iv and V in A minor.
If you are just going back an forth from Dm to E you are sort of hovering around the dominant V chord. Typically you would move from the domimant to the tonic i chord Am. You could try going to Am as part of that progression.
edited 5 hours ago
Dom♦
35k18100215
answered 6 hours ago
Michael Curtis
3,284319
edited 5 hours ago
Dom♦
35k18100215
edited 5 hours ago
Dom♦
35k18100215
edited 5 hours ago
Dom♦
35k18100215
35k18100215
answered 6 hours ago
Michael Curtis
3,284319
answered 6 hours ago
Michael Curtis
3,284319
answered 6 hours ago
Michael Curtis
3,284319
3,284319
add a comment |Â
add a comment |Â
up vote
1
down vote
A different way of looking at what you did - and more importantly, where else you can go, is the fact that you've used two chords from parallel keys. C major and C minor. The Am is from C maj. and the Fm from Cm.
'Borrowing' chords in this way works well, and now gives you quite a few choices as to what else may suit your needs. Any of the 7 from C major, and any of the 7 from C minor!
answered 4 hours ago
Tim
92.7k1094235
add a comment |Â
up vote
1
down vote
A different way of looking at what you did - and more importantly, where else you can go, is the fact that you've used two chords from parallel keys. C major and C minor. The Am is from C maj. and the Fm from Cm.
'Borrowing' chords in this way works well, and now gives you quite a few choices as to what else may suit your needs. Any of the 7 from C major, and any of the 7 from C minor!
answered 4 hours ago
Tim
92.7k1094235
add a comment |Â
up vote
1
down vote
up vote
1
down vote
A different way of looking at what you did - and more importantly, where else you can go, is the fact that you've used two chords from parallel keys. C major and C minor. The Am is from C maj. and the Fm from Cm.
'Borrowing' chords in this way works well, and now gives you quite a few choices as to what else may suit your needs. Any of the 7 from C major, and any of the 7 from C minor!
answered 4 hours ago
Tim
92.7k1094235
A different way of looking at what you did - and more importantly, where else you can go, is the fact that you've used two chords from parallel keys. C major and C minor. The Am is from C maj. and the Fm from Cm.
'Borrowing' chords in this way works well, and now gives you quite a few choices as to what else may suit your needs. Any of the 7 from C major, and any of the 7 from C minor!
answered 4 hours ago
Tim
92.7k1094235
answered 4 hours ago
Tim
92.7k1094235
answered 4 hours ago
Tim
92.7k1094235
answered 4 hours ago
Tim
92.7k1094235
92.7k1094235
add a comment |Â
add a comment |Â
up vote
0
down vote
That could be called a chromatic mediant of A minor. Notice how the note C, the 3rd of A minor, is carried over to the F minor chord.
answered 6 hours ago
user45266
1,387323
add a comment |Â
up vote
0
down vote
That could be called a chromatic mediant of A minor. Notice how the note C, the 3rd of A minor, is carried over to the F minor chord.
answered 6 hours ago
user45266
1,387323
add a comment |Â
up vote
0
down vote
up vote
0
down vote
That could be called a chromatic mediant of A minor. Notice how the note C, the 3rd of A minor, is carried over to the F minor chord.
answered 6 hours ago
user45266
1,387323
That could be called a chromatic mediant of A minor. Notice how the note C, the 3rd of A minor, is carried over to the F minor chord.
answered 6 hours ago
user45266
1,387323
answered 6 hours ago
user45266
1,387323
answered 6 hours ago
user45266
1,387323
answered 6 hours ago
user45266
1,387323
1,387323
add a comment |Â
add a comment |Â
up vote
0
down vote
We call this a chromatic mediant relationship.
To put it simply, two chords are chromatic mediants of each other if their roots are a third apart and they share one common tone. In the case of A minor and F minor, the common tone is C. Furthermore, note that the two remaining voices move by half step into the second chord: the A in A minor moves to A♠in the F-minor chord, and the E of A minor moves to the F in the F-minor chord. The smooth voice leading is what helps to keep this progression together.
But note that F minor is not the only chord that fits this definition. There are three other chromatic mediants to this A-minor chord: C♯ minor, C minor, and F♯ minor.
As it turns out, chromatic mediants are the same quality as the original chord. So if you want to quickly find the four chromatic mediants of a harmony, find the roots located up and down a major and minor third from the root, and remember that those triads will be the same quality (major or minor) as the original chord.
answered 6 hours ago
Richard
34.4k675145
darn, you beat me to it
– Michael Curtis
6 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
– Richard
6 hours ago
add a comment |Â
up vote
0
down vote
We call this a chromatic mediant relationship.
To put it simply, two chords are chromatic mediants of each other if their roots are a third apart and they share one common tone. In the case of A minor and F minor, the common tone is C. Furthermore, note that the two remaining voices move by half step into the second chord: the A in A minor moves to A♠in the F-minor chord, and the E of A minor moves to the F in the F-minor chord. The smooth voice leading is what helps to keep this progression together.
But note that F minor is not the only chord that fits this definition. There are three other chromatic mediants to this A-minor chord: C♯ minor, C minor, and F♯ minor.
As it turns out, chromatic mediants are the same quality as the original chord. So if you want to quickly find the four chromatic mediants of a harmony, find the roots located up and down a major and minor third from the root, and remember that those triads will be the same quality (major or minor) as the original chord.
answered 6 hours ago
Richard
34.4k675145
darn, you beat me to it
– Michael Curtis
6 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
– Richard
6 hours ago
add a comment |Â
up vote
0
down vote
up vote
0
down vote
We call this a chromatic mediant relationship.
To put it simply, two chords are chromatic mediants of each other if their roots are a third apart and they share one common tone. In the case of A minor and F minor, the common tone is C. Furthermore, note that the two remaining voices move by half step into the second chord: the A in A minor moves to A♠in the F-minor chord, and the E of A minor moves to the F in the F-minor chord. The smooth voice leading is what helps to keep this progression together.
But note that F minor is not the only chord that fits this definition. There are three other chromatic mediants to this A-minor chord: C♯ minor, C minor, and F♯ minor.
As it turns out, chromatic mediants are the same quality as the original chord. So if you want to quickly find the four chromatic mediants of a harmony, find the roots located up and down a major and minor third from the root, and remember that those triads will be the same quality (major or minor) as the original chord.
answered 6 hours ago
Richard
34.4k675145
We call this a chromatic mediant relationship.
To put it simply, two chords are chromatic mediants of each other if their roots are a third apart and they share one common tone. In the case of A minor and F minor, the common tone is C. Furthermore, note that the two remaining voices move by half step into the second chord: the A in A minor moves to A♠in the F-minor chord, and the E of A minor moves to the F in the F-minor chord. The smooth voice leading is what helps to keep this progression together.
But note that F minor is not the only chord that fits this definition. There are three other chromatic mediants to this A-minor chord: C♯ minor, C minor, and F♯ minor.
As it turns out, chromatic mediants are the same quality as the original chord. So if you want to quickly find the four chromatic mediants of a harmony, find the roots located up and down a major and minor third from the root, and remember that those triads will be the same quality (major or minor) as the original chord.
answered 6 hours ago
Richard
34.4k675145
edited 6 hours ago
answered 6 hours ago
Richard
34.4k675145
answered 6 hours ago
Richard
34.4k675145
answered 6 hours ago
Richard
34.4k675145
34.4k675145
darn, you beat me to it
– Michael Curtis
6 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
– Richard
6 hours ago
add a comment |Â
darn, you beat me to it
– Michael Curtis
6 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
– Richard
6 hours ago
darn, you beat me to it
– Michael Curtis
6 hours ago
darn, you beat me to it
– Michael Curtis
6 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
– Richard
6 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
– Richard
6 hours ago
add a comment |Â
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You could finish the circle by moving to C#/Db minor.
– Matt L.
6 hours ago