Guitar and piano

Working Flat-III, Flat-VI, and Flat-VII Into a Major Progression

First, a Bit of Basic Theory…

For any given major key, there are 7 chords that occur naturally, one built on each note of the scale. In the key of C major, that gives you these chords:

  1. C
  2. Dm
  3. Em
  4. F
  5. G
  6. Am
  7. Bdim

According to the very popular HookTheory website, the 3 most commonly used chords in that list are, in order, G (V), F (IV), and C (I). When you hear about the standard 3-chord song, those are the chords you’ll most often find being used.

Beyond those 3, the next most popular chords are: Am (vi), Dm (ii) and Em (iii). That leaves Bdim (vii) as the least-used chord out of the 7 that naturally occur in the key of C major.

Introducing Flat-III, Flat-VI, and Flat-VII

As you likely know, it’s relatively common for a songwriter to use chords that don’t naturally exist in a key’s allotment of 7 chords. That keeps things interesting, and helps as a writer seeks to shape the mood of the music.

Creative Chord ProgressionsLooking for a way to make your chord progressions stand out a bit more, and get a little more attention? You need “Creative Chord Progressions.” Right now, this eBook is FREE of charge when you purchase the 10-eBook Bundle. Eleven songwriting eBooks for $37 USD, immediate download.

Most of these so-called non-diatonic chords fall into different categories such as secondary dominants, modal mixtures, various types of pre-dominant chords, just to name a few. The chords that we’re looking at today in this post, the bIII, bVI, and bVII, are all a type of modal mixture, which simply means that you’d find them in the key of C minor, and they’re “borrowed” and used in the key of C major.

Creating these chords is easy enough. To make a  bIII chord, find the 3rd note of C major (E), lower it one semitone (Eb), and build a major chord on top of it (Eb-G-Bb). Do the same thing to make a bVI (Ab-C-Eb) and bVII (Bb-D-F).

Using Flat-III, Flat-VI, and Flat-VII

For any chord to sound good, you have to approach it and then leave it in a way that sounds right. Sometimes the best way is to demonstrate this with a few examples, so check out these ideas. (The letter b in front of a Roman numeral indicates “flat”):

Progressions That Use bIII:

  1. bIII usually moves easily to IV: C  Eb  F  G
  2. bIII can move easily to bVI: C  Eb  Ab  G
  3. bIII can move easily to bVII: C  Eb  Bb  F

Progressions That Use bVI:

  1. bVI can move easily to V: C  Am  Ab  G
  2. bVI can move easily to I: C  Am  Ab  C/G  G  C
  3. bVI can move easily to bVII: C  F  Dm  G  Ab  Bb  C

Progressions That Use bVII:

  1. bVII can move easily to I: C  F  Bb  C
  2. bVII can move easily to IV: C  Dm  G  Bb  F  G  C
  3. bVII can move easily to bIII, as part of a circle of 5ths: C  F  Bb  Eb  Dm  G  C

It’s very important to keep your eye on the bass line that non-diatonic chord like these ones create. It is the bass line that makes a progression sound good or bad. In general, moving stepwise into or away from a non-diatonic chord (i.e., Eb to F) or moving by a 4th or 5th (Eb-Ab, or Eb-Bb) will almost always work.

Gary EwerWritten by Gary Ewer. Follow Gary on Twitter

“The Essential Secrets of Songwriting” 10-eBook BundleThousands of songwriters are now using “The Essential Secrets of Songwriting” eBooks to polish their technique and improve their songwriting skills. Get a free eBook, “Creative Chord Progressions” if you buy the bundle today.


Posted in Uncategorised and tagged , , , , , , , , , , .

One Comment

  1. Pingback: Working Flat-III, Flat-VI, and Flat-VII Into a Major Progression - The Hit Songwriting Formula | The Hit Songwriting Formula

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.