Practice

Dark Chord Progressions

A descending bass line and a borrowed major chord in a minor key — two devices composers have used for dramatic tension for centuries.

Andalusian Cadence and Minor ii–V–i — the dark progressions on String Warrior.

Why descending minor progressions sound dark

The Andalusian Cadence walks its bass line down step by step from the minor tonic (Am to G to F to E) — a ‘lament bass’ device used in laments and tragic arias since the Baroque era, and still one of the most reliable ways to signal drama in a chord progression.

Both progressions here end on a major V chord inside a minor key (E major resolving Am, not E minor) — borrowed from the harmonic minor scale’s raised seventh. That major V creates a harder pull back to the minor tonic than a minor v would, which is exactly the tension that gives flamenco vamps and jazz minor cadences their dramatic weight.

Andalusian Cadence (i–bVII–bVI–V)

A descending Spanish-flamenco vamp that walks down from the minor tonic through the flat-seventh and flat-sixth chords to a tense dominant. The dramatic pull back to the top makes it a favorite in flamenco, rock, and pop hooks alike.

In the key of Am, Andalusian Cadence becomes:

  1. Am — the i chord
  2. G — the bVII chord
  3. F — the bVI chord
  4. E — the V chord

Read the full breakdown of Andalusian Cadence or test your ear against it.

Minor ii–V–i (iiø7–V7–i)

The minor-key cousin of the jazz ii-V-I: a half-diminished chord moves to a dominant seventh and resolves to a minor tonic. It's the sound of tension pulling into a moody, minor-key resolution.

In the key of Am, Minor ii–V–i becomes:

  1. Bm7b5 — the iiø7 chord
  2. E7 — the V7 chord
  3. Am — the i chord

Read the full breakdown of Minor ii–V–i or test your ear against it.

Songwriting tip

Let the descending bass line be heard — walk it clearly on a low string — and hold the final V chord a beat longer than the others to heighten the pull home.