11) Two Chords Circle Progressions - Minor Mode

[Post #11] In the previous posts we talked about the major mode, now we analyse the circular progressions based on the minor mode. A digression on the origin and nature of the minor mode would take too much space here and could be maybe boring, I just point out a couple of things. To get the minor scale from a major key we must start from the sixth degree of the major scale^1. Let's make a practical example with our C major scale:

The sixth degree of the scale is the note A, so we build the A minor scale starting from this note and having, therefore, the sequence A, B, C, D, E, F, G.

Centuries of musical practice have led to a convention: when the seventh tone of this minor scale (G) moved to the eighth tone (A), it was reduced the interval between the two notes, a semitone replaced a tone and the G became G#. Between the seventh and eighth degree of the minor scale (G# - A) was then recreated the same interval (half step - semitone) that we find between the seventh and eighth grade of the major scale (B - C). This minor scale is called harmonic and consists of the following notes: A, B, C, D, E, F, G#. 

Between the sixth and seventh degree of this harmonic minor scale, we find an interval that is bigger than a tone (F - G#). This augmented interval was (and still is) often avoided, so that the note F is often changed in F#. This is the melodic minor scale² which consists of the following notes: A, B, C, D, E, F#, G# 

As for the major mode, we can now build triads on each degree of the scale. Of course, if a degree has an accident we can build a triad with the natural or the altered sound. In the minor mode we have therefore more triads to the same degree:

• The I degree is obviously a minor chord (Am).
• On the II degree, we have a diminished chord (Bdim, with a minor third and diminished fifth) and a minor chord (Bm). 
• On the III degree, we have an A major triad (C) and an augmented chord (C5+ with the fifth note a semitone higher).  On the IV degree, we have a minor chord (Dm) and a major chord (D). Same on the V degree (Em and E). 
• On the sixth grade, we have a major chord (F) and a diminished one (F#dim). Same on the seventh grade (G and G#dim).

By making the circle progressions in the minor mode we also omit some chords: the diminished triads on the II, VI, and VII degree, and the augmented triad on the third degree. We can now create our two-chord circle progressions. Circle progressions based on minor triads:

• Am - Bm (I – II progression)
• Am - Dm (I – IV progression)
• Am - Em (I – V progression)

Here instead the progressions based on a minor triad and a major triad:

• Am - C (I – III progression)
• Am - D (I – IV progression)
• Am - E (I-V progression)
• Am - F (I – VI progression)
• Am - G (I – VII progression)

Obviously, this applies to all minor keys. We can use the table below to transpose scales and chords:

1 Still in the previous post we explained what are the degrees of the scale.

2 In classical music the harmonic minor scale is played the same way ascending and descending - A, B, C, D, E, F, G# (ascending) - A, G#, F, E, D, C, B, A (descending), while the melodic minor scale uses altered notes in the ascending modus A, B, C, D, E, F#, G#, A and the natural sounds in the descending modus: A, G, F, E, D, C, B, A.

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