Nexus by 5th Up

In the previous session we discussed 5_▼ nexus. Now, let’s take a look at the reverse, the 5^▲ nexus.

This group has one “once prohibited” progression,V→II_m, which I’ll explain later.

1. Characteristics of the 5th Up Progression

As mentioned in the previous explanation, the 5th nexus involves a significant movement in root and a change in two of the chord tones, making it very powerful and propelling. When we consider the difference between 5_▼ and 5^▲, the key point is the opposite direction of the TDS cycle.

While 5_▼ nexuses follow the basic cycle of T→S→D→T, 5^▲ nexuses have a unique movement pattern of T→D、D→S、S→T. This difference has led to varying preferences in music genres and a notable example is the V→II_m, which was once considered “prohibited” (or at least “not recommended”) in classical music.

Now, let’s listen to some sample chord progressions to see how they sound!

6-4-1-5

The 6-4-1-5 progression contains two successive 5^▲ nexus. This progression is highly popular among US pops/rock and you can find countless hit songs using this.

Outside the United States, it’s also hugely popular in many European countries, Africa, South America, India, and elsewhere. While I’m usually scouring for examples tirelessly, due to the abundance of examples found for 6-4-1-5, I had no choice but to sift through and select them reluctantly😭

Compared to the classic 6-4-5-1, it is just a flip-flop of the V and I. But this simple change has a significant impact on the character of the progression.

By changing 5-1 to 1-5, you eliminate the authentic V→I resolution, and instead, you establish a soft IV→I cadence. This alteration introduces a somewhat non-classical/non-jazz flavor to the progression.
Additionally, the flow of tension/release changes. With V set as the last chord, there’s a sense of building tension as it leads into the next cycle. This alteration provides a sense of anticipation and excitement for what’s to come the next.

6-3-4-1

For another example, if you connect two 5^▲ nexus, VI_m→III_m and IV→I, you get 6-3-4-1 progression.

Speaking of progressions starting with VI_m and ending with I, 6-2-5-1 and 6-4-5-1 are explained in the previous session, but 6-3-4-1 follows a very much different route to get to I.

6-2-5-1 and 6-4-5-1 progrades the functional cycle of TSDT, where musical tension is gradually accumulated and the peak is the third chord, V. On the other hand, 6-3-4-1 has its peak in the second chord, III_m, and then the tension is gradually released through the soft IV→I cadence.

The VI_m→III_m progression consists of consecutive minor chords and involves a sudden shift from T to D, which makes it particularly effective for creating emotional or melancholic atmospheres. The songs above effectively bring out such emotional qualities of chords, turning them into great pieces of music.

4-1-5-6

If you want to start with IV chord, chaining two 5_▼ nexuses results in 4-1-5. And 4-1-5-6 progression is one of the popular patterns you can find in popular music.

The first half sounds soft and calm, as two major chords are connected, neither of which are D function. Then strongly move toward V, the peak, and finally resolve to VI_m.

In this way, 5^▲ can be used to create a sudden build-up of T–D functional shift generated by I→V or VI_m→III_m, and a gentle S–T resolution created by IV→I or II_m→VI_m. The last remaining connection is V→II_m.

2. Usage of V→IIm

V→II_m is the only nexus within 5^▲ that was once considered as a “prohibition”. This rule stemmed from the same reason as the prohibition of V→IV, the idea that “V is a D-function chord, the peak of tension, so it’s better to proceed to T to make listeners relieved. Reverting to S is not advisable.”

V→IV and III_m→II_m are mild regressions where the root moves by a second. However, this time, it’s a strong retrogression where the root moves by a fifth, making it a bit more challenging to make use of it.

Furthermore, while V→IV has established a firm position in some genres like blues, rock ‘n’ roll and reggae, V→II_m doesn’t have such a strong “supporters”.

However, this also means that this progression can help create fresh new musical expressions. Therefore, to my impression, it has been gradually gaining popularity in relatively recent rock and EDM genres. Let’s closely observe how it is used.

6-4-5-2

Speaking of hit songs that make good use of V→II_m, the intro of the 2013 movie “Frozen” theme song, “Let It Go,” comes to mind.

Elsa (Idina Menzel) – Let It Go

Let’s take a closer look at a section of this song…

I didn’t have the courage to directly quote THE Disney Company song, so I improvised a different melody with the same chord progression.

This chord progression is similar to the classic 6-4-5-1 progression, but it changes the ending dramatically. Instead of landing on I, it forms a strong regression from D to S. By deliberately omitting the “conclusion” of the narrative of the progression, it conveys an unsettling atmosphere and a sense of unease.

Thanks to the V→II_m, the backgrounds like the “sorrow of the girl who fled the kingdom” come across clearly. It’s an exemplary case of expanding the range of expression by not conforming to the classical theory.

Let’s listen to another version where the last chord is changed to I, fitting the classic 6-4-5-1 pattern, for comparison.

Indeed, it may sound more natural to conventional ears. But, what’s the point? The snowy mountain’s cold and white scenery, the sadness of leaving home, an uneasy sense of ominous premonition… all of these thematic elements vanish, and it becomes just a regular pop song. In terms of “sound suitable for what you want to express,” this is a big failure.

So, it’s true that the V→II_m progression is not very conventional in classical or jazz contexts. However, that doesn’t mean this progression is “wrong” or a “mistake” in any way. Unconventional progressions become indispensable in situations where you want unconventional expressions!

1-5-2-4

Starting from the tonic chord I and connect chords with 5^▲ twice results in 1-5-2 progression. This is the total reversal of the king progression in jazz, 2-5-1, and is scarcely seen in jazz or classical music. Yet, this progression is also loved in US pops/rock.

Bob Dylan – Knockin’ On Heaven’s Door

You’ve already learned that 1-5-4-1 is a fixture in blues and rock ‘n’ roll. 1-5-2 can be seen as a customized version of 1-5-4. “Knockin’ On Heaven’s Door” loops 1-5-2–1-5-4– progression, where you can see how the two S-functioning chords, II_m and IV, are alike and can be used as a substitute for each other.

Aerosmith – I Don’t Want to Miss a Thing

The chorus part of “I Don’t Want to Miss a Thing” uses 1-5-2–4-5-1 progression. According to convensional theories, it should be like 1-5-6 or 1-5-1 but it avoids such “grammers” and extend the story of chord progression to keep the musical tension not resolved until the most important lyrics “and I don’t want to miss a thing”.

Influenced by this song or not, you can find more songs using 1-5-2-4 progression.

As mentioned above, 1-5-2 totally flows back the conventional 2-5-1 progression, probably making it brim with a sense of “rebellion”, the essential mind of rock music. Moreover, its unconventional motion imparts a naive youthful vibe, which may fit in pop songs aimed at young listeners.

Anything Can Be Right

Once again, it’s important to emphasize that any chord progressions can be utilized under modern song writing, even if they were thought to be “prohibited,” “not recommended,” “weak,” “retrogression,” or “irregular” in conventional theory books.
They may not sound authentic, or they may go against listeners’ expectation, but hey what’s the problem then?

Being different from the norm doesn’t mean it’s wrong; some people find it appealing. This will be true of not only in music but also in fashion, paintings, movies or anything like that. So, whether to use these “former taboos” depends on your music genre and goals. It is not a theory book that judges what is right. It is you, the composer.

Summary

• 5^▲ nexuses involves reversing the TDS functional orbit, with a large leap in a 5th interval, creating dramatic and dynamic changes.
• I–V and VI_m–III_m can create an upsurge of musical tension, while IV–I and II_m–VI_m can design a gentle landing to a tonic functioning chord.
• V–II_m is traditionally considered forbidden, but by harnessing its “betrayal” effect, it becomes possible to express more profound musical ideas.

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