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Minor-Key and Modal Color
Builds on Minor Scales: Natural, Harmonic, Melodic
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Minor-key progressions borrow their chord qualities from whichever minor scale form is in use — natural minor gives a lowered 7th degree, so the chord built on scale degree 5 comes out minor rather than major, softening the pull back to tonic. Using harmonic minor's raised 7th restores a proper major V (often V7) for a stronger cadence, at the cost of an accidental not found in the key signature.
'Modal' progressions borrow chords from scale degrees outside standard major/minor entirely — most commonly a lowered 7th degree chord (♭VII) borrowed from Mixolydian, giving rock and folk music a floatier, less strongly resolved sound than a leading-tone-driven major cadence.
⚠️ Common mistake
Hearing a ♭VII chord and assuming it must be a mistake or an out-of-key note. Borrowed chords like ♭VII are a deliberate, common coloristic device in rock, folk, and modal jazz — not an error to be 'corrected' back to a diatonic vii°.
📝 Summary
Minor-key progressions vary their dominant chord's quality depending on which minor scale form is used. Modal progressions deliberately borrow chords like ♭VII from outside standard major/minor for color.
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