![]() ![]() To adequately transpose a natural major progression to a natural minor progression, retaining its sound qualities, you would need to transpose it to a relative minor (A in this case), which would be down 3 semitones or up 9. I'm not going to go too deep into magic and witchery, but another thing that happens is that for the major progression the chord "outline" (the interval between the root and the top note) stays the same, while in the minor progression it changes.Īll of those little details and many others (including surrounding harmony, inversions and so on) affect how a progression sounds. ![]() Notice how the minor second (a strong dissonance) change is the 3rd of the chord for the major progression and the 5th for minor. Cm (C-E♭-G) → D o (D-F-A♭) → Cm also raises (and then lowers) 2 notes by a major second (C→D, E♭→F) and 1 by a minor second (G→A♭).C (C-E-G) → Dm (D-F-A) → C raises (and then lowers) 2 notes by a major second (C→D, G→A) and 1 by a minor second (E→F).The III(+) chord is a lot more versatile as well. The "+" is in brackets, because III becomes III+ in harmonic minor. It kind of only works well after i or after VI/#vi°.Ī more sensible (and common) progression for minor would be i→III(+)→i. ![]() ii o is generally not the easiest chord to stick into a minor progression. Since Tim has already answered this question, I'm just going to add that i→ii o→i is a weird progression indeed. ![]() I was taught to think of minor keys in terms of their relative majors, not their parallel majors, and I think it's a lot better, especially when you start to get into modes (natural minor is the Aeolian mode of its relative major). I do not think it's good to think of natural minor in the way you do ("I'm going to flatten the 3rd, 6th and 7th degree"). I would just like to add something to Tim's answer. ![]()
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