A common way in which composition makes use of movements of tension and release is through the interplay between minor and major chords. In the composition shown below, we aim to provide an example of this.

Measures 1 through 6 play between the chords D minor and C-sharp minor. In fact, these are two minor chords a second apart, a relationship that sounds somewhat dark on its own.

The sense of calm appears in measure 9, where the theme previously presented with D minor and C-sharp minor becomes D minor and E major with a sixth. The latter chord closely resembles C-sharp minor, except for its B in the fifth, which makes the change subtle.

The brightness in the piece arrives at measure 12, where, with a simple change from F natural to F-sharp, we move from D minor to D major. Instead of shifting to E6, it moves toward an E major triad, giving the piece a touch of major-mode conventionality — something any grandmother would enjoy.

Finally, since we’re already on an E major chord, it resolves naturally to E major 7, which ultimately functions as the dominant resolving to its tonic in A major.

Here we include the audio so you can listen to it.