Forum: music.stackexchange.com
Tags: <chords><chord-progressions><functional-harmony>
Title: Can I use the chord progression i - v - VII - iv? (Am - Em - G - Dm : in A minor scale)
Question: I'm currently studing and learning about functional harmony and chord progressions.  I tried the chord progression i - v - VII - iv (A natural minor scale : Am - Em - G - Dm7/A) and get a nice and melancolic mood, for my ears.  But I don't really know if this chord progression make sense tecnically.  It's normal to use a Minor dominant in a natural minor key? Or should I use an Major dominant to turn the scale harmonic?

Answers:
sents: text: To add a bit to the other answers, the minor dominant is fine in a minor (or major) key.
text: The pattern v-i does not have the same cadential effect as V-i.
text: Many composers use v rather than V in non-cadential progressions; one example is a repeated cycle of fifths in a minor key.
text: One often sees i-iv-VII-III-VI-ii0-v-i-iv-VII-III-VI-ii0-V7-i.
text: For that matter, most minor fugues go to the minor v and use the V chord in cadences.
text: Your sequence looks fine.
text: It's a bit like the minor version of the Romanesca (Pachelbel's Canon) sequence.
text: In a major key one gets I-V-vi-iii or I-V-vi-I64 or I-V-vi-I63 (the V and iii are often in first inversion so the bass line moves downward by steps.)
text: In a minor key, the sequence would be i-v6-VI-III6 which (to me) seems smoother as the iii chord is not that "strong" sounding in a major key.
text: The main point of the V or V7 (or vii0 or vii06 or inversions) in a major is to proceed to the tonic.
text: Using v or v6 (and VII for that matter) often sounds better (at least to me again) in non-cadential progressions (and makes the cadences stand out, if that's wanted.)
answer_details: author: music.stackexchange.com/users/23838/ttw
score: 5
sents: text: Firsttly, get rid of the notion that there's a natural minor key .
text: There isn't.
text: There are minor scales , including the natural minor, but a minor key can and does have several different incarnations.
text: It's probably more common to have the dominant chord in a minor key as a major (or dominant seventh), but there's nothing wrong with using the minor chord in its place.
text: Listen to Black Magic Woman.
text: That's an example.
text: All that apart, if you think it sounds good, use it.
text: It won't be wrong - there really are few 'wrongs' in music - those that are usually stick out like the proverbial sore thumb.
text: While you're learning theory, always bear in mind it tries to explain what happens far more than trying to provide a set of 'rules'.
text: They really become known as 'rules' because they are heard to work well.
answer_details: author: music.stackexchange.com/users/2808/Tim
score: 4
sents: text: You can use anything.
text: In music, all rules are made to be broken.
text: Analysing you chord progression, they have all 7 notes of the C Major Scale.
text: So, yes, it makes sense theoretically.
text: If you want to stay 100% on A Minor Scale, change the G notes for G#.
text: The chord progression will be this: Am,
text: E, E/G#, Dm Where E/G# is the first inversion of E Major chord.
answer_details: author: music.stackexchange.com/users/70920/Paulo Henrique
score: 2
sents: text: After all that mess I made previously, guess I finally understood your doubt, Jordan.
text: Beg my pardon.
text: Let's analyse your chord progression note by note: Am:
text: A, C,
text: E Em:
text: E, G
text: , B G:
text: G, B, D Dm(maj7):
text: D, F, A, C#
text: As we hear chord by chord, we get an expectation that is not fullfilled on the 4th chord.
text: The Am and Em chords give us five notes that points towards two possibilities of Major Scales> C major or G major (it will depent if the next chord uses F or F#).
text: The 3rd chord, G, adds a new note, D, which belongs both to C and G major, so "there is nothing new" here.
text: The magic happens on the 4th chord, Dm(maj7).
text: Its III degree gives us the final clue we needed for which major scale the chord progression is> C major.
text: But, you added a note that doesn't belong to none of these scales> the C# note.
text: It made a change of sensations, but somehow it doesn't sound so awkward.
text: I'll give my 2 bets on the next reply below.
answer_details: author: music.stackexchange.com/users/70920/Paulo Henrique
score: 1
sents: text: When you bring up "functional harmony" and "major dominant" in minor those are concepts from common practice style harmony, so-called "classical" music.
text: But these are the conventions of that particular style.
text: While they are normal in that style they aren't required in other styles.
text: A progression like i - v - VII - iv reminds me of
text: I V vi IV in rock music where functional dominant harmony (a true major dominant chord moving to the tonic) is deliberately avoided and part of the style.
text: FWIW, in such progressions where you can identify three primary chords (tonic, subdominant, dominant)
text: it should sound very tonally solid and you can order the chords just about any way you like.
text: If you are trying to work within a particular style, follow the conventions.
text: Otherwise do whatever you want.
text: Make a new style, make hybrid styles.
answer_details: author: music.stackexchange.com/users/23919/Michael Curtis
score: 1

Summary of the answers:
It makes sense theoretically. Analysing your chord progression, they have all 7 notes of the C Major Scale. If you want to be  precise on A Minor Scale, change the G notes for G#.
In music, all rules are made to be broken