What is the progression from A minor to F minor called?
Clash Royale CLAN TAG#URR8PPP
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. I 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
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. I 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
You could finish the circle by moving to C#/Db minor.
â Matt L.
7 hours ago
Ah, the Lord of the Rings progression
â MCMastery
23 mins 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. I 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
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. I 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
edited 8 mins ago
Richard
34.4k675145
34.4k675145
asked 8 hours ago
Viktor Mellgren
1514
1514
You could finish the circle by moving to C#/Db minor.
â Matt L.
7 hours ago
Ah, the Lord of the Rings progression
â MCMastery
23 mins ago
add a comment |Â
You could finish the circle by moving to C#/Db minor.
â Matt L.
7 hours ago
Ah, the Lord of the Rings progression
â MCMastery
23 mins ago
You could finish the circle by moving to C#/Db minor.
â Matt L.
7 hours ago
You could finish the circle by moving to C#/Db minor.
â Matt L.
7 hours ago
Ah, the Lord of the Rings progression
â MCMastery
23 mins ago
Ah, the Lord of the Rings progression
â MCMastery
23 mins ago
add a comment |Â
4 Answers
4
active
oldest
votes
up vote
7
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.
add a comment |Â
up vote
2
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 Aâ 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.
darn, you beat me to it
â Michael Curtis
7 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
â Richard
7 hours ago
add a comment |Â
up vote
2
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!
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.
add a comment |Â
4 Answers
4
active
oldest
votes
4 Answers
4
active
oldest
votes
active
oldest
votes
active
oldest
votes
up vote
7
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.
add a comment |Â
up vote
7
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.
add a comment |Â
up vote
7
down vote
up vote
7
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.
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 6 hours ago
Domâ¦
35k18100215
35k18100215
answered 7 hours ago
Michael Curtis
3,304319
3,304319
add a comment |Â
add a comment |Â
up vote
2
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 Aâ 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.
darn, you beat me to it
â Michael Curtis
7 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
â Richard
7 hours ago
add a comment |Â
up vote
2
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 Aâ 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.
darn, you beat me to it
â Michael Curtis
7 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
â Richard
7 hours ago
add a comment |Â
up vote
2
down vote
up vote
2
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 Aâ 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.
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 Aâ 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.
edited 7 hours ago
answered 7 hours ago
Richard
34.4k675145
34.4k675145
darn, you beat me to it
â Michael Curtis
7 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
â Richard
7 hours ago
add a comment |Â
darn, you beat me to it
â Michael Curtis
7 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
â Richard
7 hours ago
darn, you beat me to it
â Michael Curtis
7 hours ago
darn, you beat me to it
â Michael Curtis
7 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
â Richard
7 hours ago
@MichaelCurtis And user45266 beat me by about 45 seconds! :-)
â Richard
7 hours ago
add a comment |Â
up vote
2
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!
add a comment |Â
up vote
2
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!
add a comment |Â
up vote
2
down vote
up vote
2
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!
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 5 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.
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.
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.
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 7 hours ago
user45266
1,387323
1,387323
add a comment |Â
add a comment |Â
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
StackExchange.ready(
function ()
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f76238%2fwhat-is-the-progression-from-a-minor-to-f-minor-called%23new-answer', 'question_page');
);
Post as a guest
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Sign up or log in
StackExchange.ready(function ()
StackExchange.helpers.onClickDraftSave('#login-link');
);
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
You could finish the circle by moving to C#/Db minor.
â Matt L.
7 hours ago
Ah, the Lord of the Rings progression
â MCMastery
23 mins ago