I'm always looking for better/different ways of resolving minor progs, and this is what i have come up with so far (using Am as an example) ...
Em - Am (v - i)
Has a charm to it but sounds weak as piss.
E7 - Am (V7 - i)
Always "works" for obvious reasons but every man and their dog knows what is coming.
Dm - Am (iv - i)
Plagal, has a nice haunting ring to it but can sound very weak.
D7 - Am (IV - i)
Sounds too "sunny" and "Santana" for my tastes, i rarely use it.
G#dim7 - Am (#VIIdim7 - i)
Has the same effect as example 2, although can sound a bit "spicier".
Using the other 3 subs makes no real difference (Bdim/Ddim/Fdim)
G7 - Am (VII7 - i)
Sounds "primitive", but still sweet. Enigma did this with "Sadness" way back when IIRC.
I particularly like to use it following VI ie FMaj - G7 - Am - Am, but this eventually will want to resolve to its relative Major ie CMaj, which then "steals" the key because it is "stronger".
Bb7 - Am (bII7 - i)
Sounds either Phrygian, or "Jazzy" (b5 sub), depending on context
Another weird one i pinched from Bach:
Bm - C#m - Am - Am
The Bm is the v/V, and the C#m is the relative of V7, so its easy to see why it works, even though its chromatic.
Does anyone have any other weird wacky ways of resolving minor keys?
I need a few new tricks
