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Here's my "Axis progression" video:.
The "Harmonic minor axis development" is my name for a variation on the traditional "Am F C G" development. All we have to do is swap out the G significant chord for an E major chord and now we have that powerful resolution of the Harmonic minor scale!
And, an additional special thanks goes to Peter Keller, Douglas Lind, Vidad Flowers, Ivan Pang, Waylon Fairbanks, Jon Dye, Austin Russell, Christopher Ryan, Toot & Paul Peijzel, the channel's Patreon saints!.
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0:00 Introduction.
1:23 Examples.
2:32 Harmonic minor scale.
4:00 Green Day.
5:34 The Passenger.
6:06 Roman characters.
8:20 Sub: Om.
9:07 Patreon.
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Tbh the chord names are better than the roman numerals because you don’t have to do any mental math for it to sound interesting
Video idea: A look at why the Stock Aitken Waterman hits of the late 80s like Never Gonna Give You Up and Too Many Broken Hearts etc. sound so similar and why they’re all so catchy
Love these chord progression videos!
another banger, I know I’m gonna be surprised with how many songs this has been used in, and the wide variety of genre!
You can also use the regular axis of 12 progression Am F C G first, but then add the E afterwards there to increase and extend the tension/build up right before the chorus kicks in again (assuming both chorus and verse us this progression of course). However, this can always be added that way, even if your song is in the natural minor.
It’s interesting to watch Davids videos as they teach me the theory behind things I naturally gravitated towards before knowing any theory.
An alternate way could be a cycle of Am Dm E Dm 3 times and switch to this by going from F (as a replacement for C) the 4th time to enter the loop. (I think that’s what “We Don’t Talk About Bruno” does)
Love these chord progression videos, Always there there is an aha moment
when I realize a bunch of the songs of progressions sound good to me are my all time favorite..
And btw, first time I see band sponsorship. Its a really good idea for the band and for your content too – Will go check them out
Thanks
“Apology Song” by the Decemberists, one of my favorite songs, uses this exact progression in the chorus!
This chord progression was also used in The Shepherd’s Boy from the Doctor Who OST. Such a great progression I wish was used more!
Glad you mentioned that the first chord often ends up feeling like the home chord. Nice video with good examples!
I honestly canât remember if David has included a SOAD example but it definitely made me happy to see Lonely Day, I love that song and itâs definitely one of my favourites from them
i don’t think he has and i’ve been waiting!
Actually he has in a video he made a year ago
@royalex21 seriously?? which video
Rather than E, you could use Em instead. The tone of the chord progression changes quite a bit, and it perhaps becomes a lot more static at that fourth chord, but it’s still perfectly valid and good-sounding.
i wrote a song with this chord progression and contacted david about it because i had a feeling iâd heard it before. he answered me super quickly, gave me helpful information and was very nice. thanks for the video!
You adding the bit about why and how you labeled the chords throughout the video was great.
I think that the III degree could also be interpreted as a secondary dominant of the vi grade. So basically you have V/vi into vi
As far as I can notice, the Harmonic Minor Axis chord progression is used in a lot of disco and various kinds of European dance music from the 80s, 90s and 2000s.
2:08
I believe there is an error:
The dominant for F#m is C#, not E
As soon as you started explaining and playing it on the piano, Muse – New Born started in my brain instantly.
Beautifully explained, as always. Thank you, David!
6:06 I’m so glad you talked about this. I think the way you presented it also shows pretty well how the indiscriminate relative-to-the-major-scale system is simply superior as it is more versatile and unbiased.
Funny thing is, because we’ve arbitrarily decided to base that system on the major scale rather than any other scale, which means that the major scale’s notes are the “natural” scale degrees (as a side note, I find it quite strange how even in classical music theory, you’re taught that the “natural” intervals are the ones from the major scale, but they still use the Roman numeral system than depends on whether you’re in the minor or major key), it’s always more “energy efficient” to look at things from the perspective of the relative major because it means you have three less flats.
See, the concept of key is quiet subjective because it entirely depends on our perception and interpretation. But if you ignore which key or keys the piece of music could be in, roman numerals independently of key provide an objective reference frame. I could call the progression in this video:
i-bVI-bIII-V
or bii-VI-III-bVI
or ii-bVII-IV-VI
or biii-VII-bV-bVII
or iii-I-V-VII
or iv-bII-bVI-I
or bv-II-VI-bII
or v-bIII-bVII-II
or bvi-III-VII-bIII
or vi-IV-I-III
or bvii-bV-bII-IV
or vii-V-II-bV
and either one would make perfect sense. But notice which one is shorter?
Great video david!!! I was thinking if you could do a video on one of my favourite chord progressions!!! IV/ii/vi/I on the major scale or VI/iv/i/III on the minor scale….. this progression is used on sweater weather by the neighbourhood, so you could call it that!!!!
This chord progression is used so much in spain, Its known as the Flamenco chord progression