Cadence in natural minor

I have recently finished writing a chord progression for a new track I'm working on and it's the first time I've used this "trick" cadence - I suppose you could call it that. it's natural minor and I have ended the passage with (iv, II/1, ii/1) ending on the first inversion of the third. I'm satisfied, I am not going to change it but i am just wondering if anyone has had any dealings with this and/or what are your professional opinions on it? I am self taught from personal study so I would greatly appreciate your thoughts on this, I'm intrigued.

I have recently finished writing a chord progression for a new track I'm working on and it's the first time I've used this "trick" cadence - I suppose you could call it that. it's natural minor and I have ended the passage with (iv, II/1, ii/1) ending on the first inversion of the third. I'm satisfied, I am not going to change it but i am just wondering if anyone has had any dealings with this and/or what are your professional opinions on it? I am self taught from personal study so I would greatly appreciate your thoughts on this, I'm intrigued.

Actually on further inspection I can see now that I've simply used a cadence from the relative major (vii-, I). Sounds good though. Must remember that one.

Such alterations of viidim can be applied to other scale degrees, see preogression below:

i(lowered 3rd degree of chord)-VI6 (raise 3rd degree of chord)-ii-VII(3rd and 5th degree raised) - III (raise 3rd degree of chord)-IIIaug(raised 3rd and 5th degree)-IV-II6 (3rd degree raised for remaining II chords)-V-II6/5 (dom 7ths)-V6/4-II4/2-V6-IV6-V6/4-5/3-I

Hint in fmajor the soprano line would be

c-d-d-e-e-f-f-g-g-f-e-d-c-bflat-a-g-f.

Such alterations of viidim can be applied to other scale degrees, see preogression below:

i(lowered 3rd degree of chord)-VI6 (raise 3rd degree of chord)-ii-VII(3rd and 5th degree raised) - III (raise 3rd degree of chord)-IIIaug(raised 3rd and 5th degree)-IV-II6 (3rd degree raised for remaining II chords)-V-II6/5 (dom 7ths)-V6/4-II4/2-V6-IV6-V6/4-5/3-I

Hint in fmajor the soprano line would be

c-d-d-e-e-f-f-g-g-f-e-d-c-bflat-a-g-f.

Sorry mate, thanks for the reply but as much as I would like to, I really don't understand any of that :( as I say, I'm self taught and this might just be outside my capacity at the moment. I got lost at 'vidim' to be honest. I did a google search and a village in Czech Republic was returned to me lol. That's when I knew I was beat.

HAHA a village in Czech :P

But yes that is quite a cool chord progression! I like how it would create some really cool dissonances in the parts, and going major-minor on the same chord. Really nice progression! Thanks for sharing so we can all steal it :evil:

Ah want a more chromatic version

Sorry mate, thanks for the reply but as much as I would like to, I really don't understand any of that :( as I say, I'm self taught and this might just be outside my capacity at the moment. I got lost at 'vidim' to be honest. I did a google search and a village in Czech Republic was returned to me lol. That's when I knew I was beat.

viidim is a chord - vii, that is "7", dim, that is diminished.

To be fair, the way he posted it is haphazard and unclear. Come on now composerorganist. Clean up your act.

I didn't even realize chord progressions existed anymore. :S

My apologies dev. Here for clarity is the progression with two of the chords changed. I returned to 4 voice at the end to just give a fuller harmony but technically the chords should remain 3 voiced I think. Any comments definitely welcome.

Progression for yc.pdf