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I am currently discovering the fretboard through the lens of the augmented chords, meaning that I am playing around with augmented triads and by lowering/raising a note here and there creating minor/major chords and forming progressions. During this exploring of the fretboard I ran into a chord progression where Aminor resolves in Gmajor.

Below is pictures of the chords in order by the progression. I have inverted the chords so that the root is where I perceive it after having derived the chord from an augmented triad.. (For example the second chord is technically a Eb6, but to me this is a Cminor chord because what I did was raising the B in a Ebaugmented to create the notes C-G-Eb.)

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Effectively what you’ve got here is two plagal cadences. You have Am - Cm - G - Dm - C - Ebaug - G. So in the context of G mixolydian this would be II - IVb - I - V - IV - bVI - I. Note that II,IV,IVb,bIV all have a subdominant character, while the (minor) V does not have a clear character. So in the end this is functionally equivalent to doing IV - I - IV - I.

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  • The final three chords — C Ebaug G — bears a very strong resemblance to the common C Cm G (IV iv I) progression found in many songs, reinforcing the point about the IV - I relationship.
    – Aaron
    Apr 28, 2022 at 0:03
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Your E♭aug -> G chord progression has great voice leading. All that changes between those two chords is that the E♭ in the E♭aug chord goes down one semitone to the D in the G chord. The rest of the notes in both chords stay put.

Great voice leading is powerful enough to carry an entire chord progression, I've found.

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