Nexus by 3rd Down

We’ve covered 2nd and 5th nexuses, and now the only one left is the 3rd. Let’s first look at its properties common to both ascending and descending.

2. Characteristics of 3rd Nexus

When connecting chords with a 3rd interval, the most distinctive feature is that there are 2 common tones.

While 2nd nexuses have no common tones, and 5th nexuses have only one, when it comes to the number of common tones, 3rd nexuses take the top spot. With fewer changes in chord tones, it is expected that the impressions of chord changes may sound understated, less dynamic.

In practical songwriting, 3rd nexuses make it very easy to sustain the same note or repeat the same phrase across chords. As a result, 3rd nexuses may lead you to form simple loop cycles.

VI_mIVVI_mI

Here’s a chord progression created solely with 3rd nexuses, and between VI_m–IV and VI_m–I, it repeats the exact same phrase using common tones. Especially in dance music and hip-hop, where using sample loops is common, the ease of repeating phrases in 3rd nexuses has high value.

3. Characteristics of 3rd Down

Once again, I’m gonna explain ascending and descending progressions separately. First, let’s focus on 3_▼, the descending nexus.

Most of the 3_▼ are “model students” that are frequently used even in classical music. However, III_m→I was considered as prohibition. We’ll discuss this later and look at other basic chord progressions.

1-6-4-5

This is a very classic progression where 3_▼ occurs twice. When it’s looped, It cycles through TSDT functional orbit and constitute the V→I authentic cadence, which is a very predictable, easy-to-listen chord progression. It has a very calm feel, and it’s most commonly used in verse section of a song.

One song well-known for exclusively using 1-6-4-5 is “Stand by Me” by Ben E. King.

Though it’s an old song, you’ve probably heard it somewhere. Compared to 6-2-5-1 we discussed in the 5_▼ episode or the 1-5-2-4 from the 5^▲ episode, this one definitely has a more peaceful and relaxed feeling of how music goes.

Although it lacks any sort of excitement or surprise, it’s still widely used in today’s pop music, especially in simple, plain or austere songs.

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While 5th nexuses serve as the “centerpiece” that forms the backbone of a song, 3rd nexuses play a supporting role.

2. Nexus of IIIm→I

Now, let’s talk about the III_m→I progression, which once was considered a “prohibition”. I reckon it might be the most challenging to use in the 30 patterns of prime chords connection.

This progression is not only considered a prohibition in classical theory but is also described as “rarely seen” in jazz theory books¹.
Looking at other “former prohibitions,” V→IV has already established its status firmly, and there are many examples of hit songs using V→II_m. However, III_m→I is not yet widely used, even in today’s pop music field.

Reasons for the Unpopularity of IIIm→I

When it comes to explaining “why” this progression is rarely seen, there is still no clear answer². From a musical perspective, one explanation could be the lack of excitement when such an important moment as the arrival at I occurs with a relatively uneventful 3rd nexus. Comparing V→I and III_m→I, the latter involves fewer changes in the chord tones and a smaller interval of root movement.

Our ears are so accustomed to the clear resolution provided by the fifth that when I immediately follows III_m, it feels like a sudden yet quiet ending. As this type of “betrayal” doesn’t work well in most cases, it’s less likely to be chosen.

3. Examples of IIIm→I

This challenging chord progression is said to be “rarely used”, but it means it’s sometimes used. I’d like to showcase a few examples of how it’s been used effectively.

Lady Antebellum – Need You Now

This song features a very unique progression of 1-3-1-3 in the chorus.

Here the lyrics match beautifully, depicting a melancholic love song with lines like, “I’m all alone and I need you now”. Such themes are well-suited to a chord progression that lacks clear and strong movements—It sets sail for III_m but soon returns to home.

Wednesday Campanella – Edison

Here is a rare example where the progression 4-5-3-1 is used as the main loop. Overall, it closely resembles the classic J-Pop progression, 4-5-3-6, but with a twist: instead of landing on a minor VI_m chord at the end, it resolves to a major I chord.
Earlier, I speculated that the sudden resolution might feel like a “betrayal,” but actually, following 4-5-3 with a T-functioning chord is quite an expected progression. So, even if the I replaces the VI_m, it can still flow smoothly without causing any discomfort. Additionally, it seems to work well by virtue of a less pronounced sense of harmony (with no sustaining chord instruments), or a particular way of melodic flows. All these small elements coming together make the progression effective.

Basically, utilizing this unique musical mood in III_m→I can be quite challenging. When considering its use in a song, it might be worth checking whether V→I, III_m→VI_m or III_m→IV might sound better in place of III_m→I.

Summary

• 3rd nexuses feature two common chord tones and a moderate root movement in a 3rd interval, resulting in minimal changes and a calm atmosphere.
• Only III_m→I was once considered a forbidden progression. It has a unique musical mood and is suitable for very specific situations.

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