Music Theory for Songwriters

A Few Things to Think About

There are a number of chords in circles on the left and upper right. The general principle is that you can use these chords whenever you like, but when you do there is a fairly strong pull to follow the arrows back toward the square boxes.

The Cm/Eb location in the middle of the diagram can be used as a pathway between the Fm box and the D° (D diminished) box. It works in either direction.

The Fm7 box is another way to return to Cm from the D° box.

The Fm/C and G/C location at the lower right demonstrates the idea that sometimes a bass note can be kept right where it is while the chord changes above it. Using C as the bass note while switching the chord from Cm to Fm to G gives an interesting effect.

The Cm/G location is very important. We mentioned it in Part 15. In this location, we are playing the Cm chord, but the bass note is G. This sets up the progression G to Cm. Quite a few options can come just before Cm/G. These options include Fm, Db/F, D°, B°/D, F#°7, and Ab7. (Note: in classical music theory, the Ab7 chord has a different name. It’s called Abaug6. But the notes under your hand are the same as Ab7.)

Finally, the Ab to Bb to Cm location at the lower left is not seen very often in the middle of a song, but might be seen as part of an ending.

Time to Review

Just as in the major keys, when secondary chords are added to the minor map, many new options come into the picture. You may not need these options at first. Many songs are written using only the chords in the Simple Map. But as your chord vocabulary grows, some of these ideas will become valuable. Exploring them, following the various pathways, and learning how they each sound, will give you new tools on your journey toward becoming a stronger musician and songwriter.

Harmonic minor scale diagrams and minor key maps are here in Minor Key Charts and Maps.

When you are ready, move on to Part Seventeen.