I noticed this interesting chord progression idea in some heavy metal riffs.
Usually, a V chord resolves to I – that is something we know happens commonly in music.
However, for today’s tip, we will talk about how the dominant chord can resolve to a minor chord version of itself, containing the same root.
Observe the progression below:
Notice how we set up for a cadence in F# minor with the C#7 chord. However, it resolves to a F#7 chord. We think that we have possibly modulated to B Major/minor, or started a circle of fifths progression – but no! Instead, the F#7 chord resolves to a F# minor triad.
With good voice leading, this can work very smoothly. Most of the chord notes are kept the same – only difference being the change from the major third to a minor third, which is just a half-step.
This creates a “deceptive” resolution (and I use this term loosely because there is already a term for a “deceptive cadence”) while smoothly creating momentum back to the minor tonic area**.
**Note, this progression only works if the tonic is in minor.
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