Contents
3. the “Former Prohibitions”
Now, let’s look at the remaining three nexuses that were once considered ‘forbidden.’ What they all have in common is that there is no change in TDS functionality.
So, it can be said that these have even less changes in sounds among the already subtle and soft 3▲ nexues. Due to it or not, it’s prohibited in classical theory.
The II triad may become the triad of resolution of the IV triad, but it cannot harmonically progress into the IV triad, The harmonic progression of the II triad into the IV triad is an anticlimax in tonal feeling;
(……)
The harmonic progression of the VI triad into the I is weak, and should be avoided.
Robinson, Franklin. “Aural Harmony(p.68-69)”.
However, it’s important to note that a nexus with little change, a “weak” progression, isn’t necessarily a bad one. The reason these were once considered forbidden ultimately boils down to conventional logic. The reason is unclear, and that’s why examples of such progressions have become more prominent through the work of emerging artists and composers, steadily gaining support, especially since the beginning of the 21st century. Let’s explore how these progressions are utilized with real examples.
4. VIm → I Nexus
VIm→I creates a relaxed flow with consecutive tonic functions, similar to the classic I→VIm. However, as VIm comes first, it tends to add a darker tone, making it more commonly used in rock and dance music genres.
All these songs above utilize 3▲ nexuses, especially the pattern of 6-1-4 progression. The most typical pattern is 6-1-4-1, while the cases of Muse and Megadeath uses 6-1-4-2.
The VIm→I nexus clearly presents a transition from dark to light, bringing a sense of emotion like “a ray of light streams in.”
On the other hand, in electronic tracks like “Sexy Bitch”, it seems to provide a balancing effect, preventing the key from leaning too much towards either major or minor.
6-1-5-4
In patterns that involve the V chord, the progression of 6-1-5-4, or 6-1-5-2 has become a staple in Western pop music, especially in EDM oriented genres.
It’s a chord progression that suits lively music well. What’s interesting is that it breaks the classical rules twice—VIm→I and V→IV (or V→IIm). In the world of today’s pop music, what used to be considered a rule is no longer a rule, and it feels like these “former prohibitions” have become part of everyday vocabulary.
Again in progressions like this, VIm→I serves as a balance between minor and major keys, preventing the song from becoming too dark.
In other words, it starts with VIm to give it a somewhat dark tone, but the composers did’t want to continue with a gloomy atmosphere. So they chose the ultimate element that can instantly cancel out the minor key feel, I, the tonic chord of major keys.
5. IIm → IV Nexus
The nexus IIm→IV, consecutive subdominant function chords, is also an attractive and gentle progression.
IIm, within the prime chords, plays the role of expanding a chord progression before reaching dominant chords, like 1-4-5-1 turned to 1-4-2-5-1. In fact, in a classical theory format, IIm must progress to V and any other progression is prohibited.
However, deliberately moving to IV changes the character entirely. They have two common tones and it involves no functional changes. The change from minor to major is the only significant change.
As a result, while IIm→V clearly demonstrates vitality and energy, IIm→IV expresses a lot more softer and quieter feel.
2-4-6 Pattern
Daft Punk’s “Get Lucky,” which won five awards at the 56th Grammy Awards and became a massive hit, uses IImIVVImV progression throughout the song, employing consecutive 3▲ nexus for creating a vibes of sophisticated dance tune for “adults”.
You can find more songs using 2-4-6 progression.
2-4-6-5 is the popular formation but there are other choices like 2-4-6-3, 2-4-6-6 or 2-4-6-1. Anyway the key here is avoiding the authentic ii-V progression to bring more “chilled” feel.
2-4-1 Pattern
Changing the destination from VIm to I makes a version closer to the major key.
This song, titled ‘Paradise,’ as the name suggests, is a track where the lyrics evoke themes like “escaping from reality and taking refuge in a fantasy paradise.” For such a dreamy theme, it loops the chord progression IImIVIV.
As you can see, it doesn’t use 2▲2▼3▼5▼, which can establish a stable or strong connection, and instead follows a quite distinctive chord progression. It subtly floats up from IIm to IV, and then makes a dynamic leap with 5▲, embodying the difficult thematic elements of the song perfectly within the chord progression. It’s truly extraordinary and captures the essence of the song’s escapism, refusing to move forward.
If you were to change it to 2-5-1-4, which is a jazz fixture where 5▼ consecutively follows, you’d lose much of the song’s fragility and imaginative scenes.
Just like V→IIm in “Let It Go,” there are always musical ideas that can only be expressed in ways that were traditionally considered “prohibited”. Modern artists are expanding the range of expression by mastering all these new possibilities.
2-4-1-5 is not still not so popular but it has been observed in pop music especially from the 2010s onwards. Examples can be found in songs by artists like Eminem, Taylor Swift, Katy Perry.
“Not Fair” uses 2-4-1-5 and 2-4-5-5 alternately. There are many available options after IIm–IV!
6. IIIm → V Nexus
The IIIm → V nexus is somewhat distinctive and less frequently used, but it undeniably possesses a unique and intriguing quality. IIIm itself is a minor chord that can lean towards T function depending on the context. So, when it suddenly transitions to V, it shifts from a somewhat melancholic sound to something decisive. As a result, it creates a sense of “lifting” or “assertiveness.”
This is a song by an indie pop band from New York. The progression in the verse is VImIVIIImV, and it clearly demonstrates the texture of “moving from the unclear IIIm to the powerful V.” Additionally, IIm→IV is also used in other parts of the song. The so-called “forbidden progressions” are gradually establishing their place as everyday expressions as time goes by.
This is one of Radiohead’s iconic songs. It subtly uses IIIm→V during the transition from the verse to the chorus (“This is what you get~”). Furthermore, the bridge section starting at 2:35 begins with the unusual progression of IIIm→V→I.
This part, as indicated by the lyrics “I lost myself,” creates a hazy and chaotic atmosphere. The nexus from IIIm to V might not be a common and regular move, but it fits perfectly with what the song wants to express, precisely because of its irregularity.
Every Nexus Has Its Own Value
Now, we’ve introduced all 30 nexus patterns! None of them are truly “forbidden.” It’s far more practical to consider that; every chord progression is available, and the selection of nexuses determines the fundamental direction and era of the musical style. Theories that dismisses these as exceptional cases is nothing more than conservatism.
If there’s any measure of “correctness” in music, it’s whether the musical expression aligns with what you want to convey. The choice is entirely up to you and theory is merely there to assist in making that judgment.
Summary
- 3▲ is a counterpart to 3▼, providing a sense of elevation at the cost of stability.
- In dance music, IV-VIm and in pop music, I-IIIm are common progressions. I-IIIm has been recognized since the classical era.
- IIm→IV, VIm→I, IIIm→V are not frequently used in traditional Western-style music. However, in rock and electronic music from the 21st century onwards, there has been an increasing use of these unconventional chords.
