Let's explore the art of writing captivating chord progressions in A major. We'll start by analyzing popular songs and uncovering the theoretical principles behind their success.
Then, we'll delve into techniques for enhancing your progressions. This includes exploring music theory concepts like secondary dominants, parallel chords, and key modulations, along with explanations of the music theory behind each and how they create richer musical textures.
Finally, we'll examine the important role of cadences, demonstrating how their strategic use creates and resolves musical tension.
Understanding the structure of A major and the function of its chords is key to writing compelling progressions. This article provides a basic overview; see "Chords in A Major: A Comprehensive Guide" for a more detailed explanation.
The diatonic chords are derived from the seven notes of the A major scale.
The chords in A major are A major, B minor, C# minor, D major, F# minor, G#° (diminished).
The following A major chord progressions demonstrate the key's diverse harmonic landscape. We’ll look at both simple progressions as well as more advanced ones that incorporate techniques such as secondary dominants, parallel chords, and tonic substitutions.
All of these harmonic techniques will be explained in the following sections of the article.
By studying these progressions, you'll gain insight into the harmonic function of each chord and how they contribute to building anticipation and musical interest.
Let's explore some common progressions in A major.
This progression demonstrates how simple harmonic devices can create a compelling musical narrative. The initial tonic-to-subdominant movement provides a subtle departure from the tonic's stability, adding a touch of color. The subsequent return to the tonic firmly re-establishes the tonal center.
The introduction of the chromatic B7 (a secondary dominant of the dominant) heightens the harmonic tension, creating a strong drive toward the dominant chord and a satisfying conclusion to the first phrase. This chord progression is used in the melancholic "Tomorrow Will Be Kinder" by The Secret Sisters.
This progression concludes the chorus of The Secret Sisters' "Tomorrow Will Be Kinder", featuring some interesting harmonic choices. Beginning the phrase on the subdominant creates a sense of anticipation.
The secondary dominant (B7) sets up a chromatic V-I progression, but instead of resolving directly, the phrase continues with a IV-I cadence, providing a gentler, more mellow closure that perfectly complements the song's melancholic mood.
A-ha's "Take On Me" blends a pop framework with the sophistication of jazz harmony, particularly in its opening ii-V-I chord progression – a staple of many jazz standards.
By using seventh chords on all harmonies except the tonic, the progression adds harmonic depth and intrigue. This technique simultaneously emphasizes the tonic's stability and reinforces its role as the harmonic center.
The familiarity of this chord progression instantly makes it accessible, allowing listeners to connect with the song's emotional arc without the distraction of complex harmonies. This simplicity allows the melody and lyrics to take center stage, as exemplified by Beyoncé's "Halo", where her powerful vocals effectively convey the song's message.
The progression creates a clear emotional journey, moving from stability through introspection and vulnerability, finding resolution and comfort, and ultimately returning to the tonic.
Ed Sheeran's "The A Team" chorus effectively employs a ii-IV7-i-V progression. Beginning on the minor ii chord (Bm) establishes a somber mood, while the subsequent major IV7 (D7), rather than the expected dominant, offers a contrasting glimmer of hope. However, the 7th extension creates a sense of instability, reflecting the song's themes of fragile hope and ongoing struggle.
David Bowie's "Lady Stardust" uses a distinctive progression to create its wistful atmosphere. The opening Aadd9 establishes a dreamy, expansive feel. The C# (V/vi) creates a yearning pull towards the introspective F#m. The dominant further intensifies the emotion before the subdominant offers a gentle resolution, preparing for a potential return to the tonic.
The Cardigans' hit "Lovefool" uses a deceptively simple chord progression, subtly altered for harmonic interest. The song begins in C major and modulates up a minor third to A major for the chorus, a key change that immediately distinguishes the sections and provides the chorus with a sense of uplift and energy.
This shift in the tonal center, reinforced by the different key signatures, enhances the unique character of each part of the song. Furthermore, the use of chord extensions on all chords except the tonic strengthens the new tonal center without creating undue instability. Finally, the dominant chord is voiced as a 6th chord, adding a distinctive color to the harmonic palette.
The bridge in “You Never Give Me Your Money” by The Beatles uses this progression, and it features a chromatic B major chord, which, as a secondary dominant, might be expected to resolve to E. However, it instead progresses to the major III chord (C#), another chromatic harmony. This unexpected move creates a striking harmonic effect and also contributes to a smooth, stepwise ascending motion in the bassline.
The subsequent dominant chord, resolving to the tonic, provides a sense of harmonic grounding after these surprising chromatic shifts. This bridge, along with the song's broader use of varying modes and key signatures, contributes to its overall harmonic and structural ambiguity.
Alicia Keys' "Girl on Fire" uses a clever harmonic approach to build its intensity. The chord progression primarily stays within a comfortable tonal area, creating a sense of simmering energy.
This initial part of the progression creates a feeling of a slow burn without a clear direction. The harmony simmers, building anticipation without a dramatic shift. It's this sense of restraint that makes the eventual arrival of the dominant chord so effective.
The dominant chord finally breaks the harmonic tension, creating a powerful release and a sense of heightened energy that perfectly mirrors the song's theme. This delayed gratification, harmonically speaking, amplifies the emotional impact of the chorus.
The harmonic tension and release are key to the song's overall impact.
The pre-chorus of Adele's "Someone Like You" features a compelling progression in A major that strategically omits the tonic. This harmonic absence is key to building anticipation in this instance. While much of the preceding music uses power chords, creating a tonally ambiguous backdrop, this section introduces more defined harmonies - albeit without the tonic and a clear tonal center.
The dominant chord creates tension, while the minor vi, though offering a momentary sense of stability, ultimately functions as a tonic substitute, prolonging the harmonic yearning. The subsequent subdominant further intensifies this desire for resolution.
The chorus's eventual tonic resolution provides a powerful release of the built-up tension.
Chord inversions are key to creating smoother, more natural-sounding transitions. While root position triads are fundamental, relying on them exclusively can lead to harmonic monotony. Inverting chords adds harmonic variety and subtle shifts in stability, resulting in more engaging progressions. (For a deeper dive into A Major chord inversions, see "Chords in A Major: A Comprehensive Guide".)
Beyond the seven diatonic notes of A major lies a world of harmonic color waiting to be explored. Incorporating all twelve chromatic notes, when used thoughtfully, adds tension, suspense, and intrigue, making your music more dynamic and unpredictable.
Mastering all twelve notes, regardless of key, unlocks exciting new expressive possibilities. These non-diatonic notes, which alter a diatonic pitch, are called "accidentals" and are notated with sharps (♯), flats (♭), or naturals (♮) to restore a note to its original diatonic form.
Chromatic notes are particularly useful for:
Below is an example of a chord progression containing non-diatonic notes for added harmonic richness.
Chords: I (A) - I+ (Aaug) - IV (D) - iv (Dm) - I (A)
Ear training is crucial for both composition and improvisation. Developing your ability to recognize intervals—both diatonic and chromatic—simplifies chord choices, facilitates key changes, and more. Associating intervals with familiar melodies is a highly effective internalization technique. For examples of melodies showcasing each ascending and descending interval, see "Ear Training: Songs to Practice Intervals".
Why are dominant chords so important in Western harmony? Their inherent tension, resolved by the tonic, creates a powerful musical dynamic. Secondary dominants allow us to use this same principle to emphasize other chords within a key.
By borrowing the dominant of a target chord, we create a temporary "tonic," adding harmonic richness and tension. This borrowed dominant, located a perfect fifth above the chord we intend to reach, pulls strongly towards it, mirroring the regular dominant-tonic resolution.
Let's illustrate this in A major by temporarily tonicizing the dominant E major.
The dominant chord is already a powerful force in A major. However, we can further emphasize it by temporarily "tonicizing" it with the help of a secondary dominant. The secondary dominant of E major is B7 (a fifth above the target chord).
This B7 chord (B, D#, F#, A) creates a strong pull towards E, briefly making it feel like the tonic, even though we remain in A major.
Below, we have a chord progression featuring the B7 chord with its strong pull towards E major.
Chords: I (A) - IV (D) - V/V (B7) - V (E) - vi (F#m) - V7 (E7) - I (A)
Secondary dominants allow you to create unexpected harmonic twists and enrich even simple chord progressions. They introduce a layer of sophistication and emotional depth, enhancing musical expression by creating a sense of temporary departure and return within the established key.
Here's an example of tonicizing the minor ii chord by preceding it with its dominant chord.
Chords: I (A) - V/ii (F#7) - ii (Bm) - V11 (E11) - I (A)
Here’s another example, but with two consecutive secondary dominants.
Chords: I (A) - V (E) - V/iii (C#7) - vi (F#m)
Chromatic mediants offer a rich palette of harmonic color and depth to A major. These chords, a major or minor third away from the A major tonic, introduce notes outside the A major scale, creating a chromatic effect while maintaining a connection to the tonic through shared tones.
A chord whose root is a third above or below the A major tonic is considered a chromatic mediant if it contains notes chromatic to A major. For example, a chord progression from A major to C major would be a chromatic mediant because C major is not in the key of A major, meaning we play notes from outside the diatonic scale.
Here’s an example of a chromatic mediant of A major moving to C major, an interval of a minor third, back to A major. You may have heard this familiar chord progression melody in Lord of the Rings.
Chords: A - C - A
By moving up a major third from A, we’d get to C#, which belongs to the key signature. In this instance, we’d have to play C# major to achieve a chromatic mediant.
Chords: A - C# - D
You can also move down a minor or major third from the root of the tonic, which would give us the target notes of F# and F natural.
Chords: A - F# - Bm - A
Chords: A - F - D - A
The tension between the stability of the tonic chord and the chromaticism of these chromatic mediant chords makes them particularly compelling. They add unexpected color and depth to progressions without ever fully abandoning the A major tonal center.
This balance keeps the listener engaged and contributes a sophisticated touch. Chromatic mediants are frequently found in film scores, video game music, and other genres where heightened emotion and harmonic interest are desired, adding a vibrant dimension to the musical language.
Chords: A - F - A - C
Chord extensions enrich harmonies, adding depth and complexity to music. They are built by adding intervals of a third above the basic triad (root, third, fifth). One added third creates a seventh chord; continuing this process creates ninth, eleventh, and thirteenth chords.
These extended chords, just like seventh chords, can be major, minor, dominant, etc. While they may seem complex, their construction is logical: the extension number corresponds to the scale degree above the root.
For example, a 9th is the ninth degree, an 11th is the eleventh, and a 13th is the thirteenth. To prevent muddiness, especially in lower registers, the third and fifth are often omitted from the 11th and 13th chords.
Ninth chords add a layer of harmonic richness by extending a seventh chord with another third, moving stepwise through the scale. In A major, this translates to adding a note a third above the chord's seventh. The resulting ninth chord possesses a fuller, more complex sonic texture compared to both triads and seventh chords, contributing depth and color to the harmony.
Chords: Imaj7 (Amaj7) - vi (F#m) - IV9 (D9) - V (E)
Another example is using the Dominant 9th chord.
Chords: I (A) - IV (D7) - V9 (E9) - I (A)
Extending a ninth chord by adding another third above the ninth scale degree creates an 11th chord – a sound frequently heard in pop music, particularly when built on the dominant, lending a characteristic jazzy and soulful quality.
Next is a simple chord progression using the A11 extension in the dominant position, which is commonly found in pop and rock music. Notice how the 3rd and 5th are omitted from the E11 chord.
Chords: I (A) - IV7 (D7) - V11 (E11) - I (A)
13th chords, created by adding a third above the 11th, offer a rich and complex harmonic density. Omitting the third and fifth can create a warmer, more spacious sound by clearing the lower register, allowing the higher extensions to resonate more freely.
Chords: A - D - F#m - E13 - A
Although often associated with jazz chord progressions, chord extensions aren't exclusive to that genre. Pop and rock artists, such as Muse and Jimi Hendrix, frequently incorporate these richer harmonies into their compositions, adding depth and harmonic interest.
"Add" chords provide the color of an extension without the added harmonic density. They consist only of the basic triad plus the added note, unlike numbered extensions, which include all notes up to and including the named extension.
So, Aadd9, Eadd11, and Bmadd13 simply add the 9th, 11th, or 13th to the triad, omitting the 7th (and any lower extensions). In contrast, A9, E11, and Dm13 imply all notes up to and including the 9th, 11th, and 13th, respectively.
Our guide on A Major chords already covers the use of chromatic notes with diminished and augmented chords. Here, we’ll look at the relative key signature and parallel chords. Exploring notes outside the diatonic scale is a powerful way to add unexpected twists and turns to your music, creating more engaging chord progressions.
Experimenting with chromatic chords, passing tones, parallel harmonies, and chromatic mediants can be a valuable source of inspiration, especially when facing writer's block. These techniques offer a rich palette of unusual harmonic colors that can spark creativity and encourage out-of-the-box thinking.
Every major key has a parallel minor, and vice versa. These key pairs share the same key signature – the same number and type of sharps or flats – but have different tonal centers. This difference is crucial: even with identical notes, the feeling and function of chords within each key differ drastically.
The relative minor of a major key is found on the sixth scale degree of the major scale. For example, the relative minor of A major is F# minor. Conversely, the relative major of a minor key is found on the third degree of the minor scale; thus, the relative major of F# minor is A major.
While relative major and minor keys share the same notes, their distinct tonal centers (A or F# in this case) dictate each chord's harmonic role. Establishing either A or F# as the "home" note fundamentally alters how the chords within that shared set of notes are perceived and used.
Modulating to F# minor, the relative minor of A Major unlocks a new tonal landscape with seven distinct diatonic chord functions – all while using the same key signature. (For a more detailed look at F# minor chords, see "Chords in F# minor: A Comprehensive Guide.")
The close relationship between these keys allows for exciting harmonic interplay. This shift in the tonal center adds depth and enables contrasting emotional textures between musical sections.
Modulation between relative keys is a common and effective compositional technique. For example, shifting to F# minor can evoke melancholy, while modulating back to A major can create a sense of positivity and uplift.
One common modulation technique involves using a shared diatonic chord as a pivot between two keys. In this example below, the Bm chord is diatonic to both A major (where it's the ii chord) and F# minor (where it's the iv chord).
The modulation is achieved by treating the Bm chord as the iv in F# minor and following it with the dominant chord of F# minor, C#7. This Bm-C#7 progression creates a strong iv-V progression, leading to a V-i cadence that effectively establishes F# minor as the new key.
Chords: I (A) - V (E) - iv (C#m) - ii (Bm) - V/vii (C#7) - F#m
Parallel chords, formed by changing a chord's mode (major to minor, or vice versa) through the addition of accidentals, introduce unexpected harmonic twists. For instance, in A major, transforming the subdominant (D major) to D minor (by lowering the F# to F natural) creates a distinct emotional shift.
This technique can surprise the listener and subtly alter the mood. A common example is using the parallel minor tonic, A minor, in the key of A major, to contrast the prevailing major tonality, adding a moment of melancholy.
While powerful, parallel chords should be used with care. Overuse can destabilize the harmony and weaken the tonal center. However, strategic placement can emphasize key moments and enrich the overall tonal landscape of a song.
Like punctuation in language, cadences shape and emphasize musical phrases, providing structure and emotional impact. They act as musical punctuation, defining the emotional arc. By using different cadences, composers and producers create a wide range of expressive effects, from powerful climaxes to gentle or reflective endings.
Let's take a look at common cadences in A major.
The classic V-i cadence offers a strong, familiar sense of resolution, effectively concluding a phrase or piece. This clear ending creates a feeling of musical closure. A perfect (or authentic) cadence requires both chords to be in the root position (root as the lowest note) and the tonic chord's highest voice to also be its root. These conditions produce the strongest possible resolution.
Dominant → Tonic (V - I)
E Major → A Major
Use a dominant seventh chord to create an even more powerful resolution to the tonic.
E7 → A Major (V7 - I)
Unlike the definitive resolution of a perfect authentic cadence, the plagal cadence (sometimes called the "Amen" cadence) provides a gentler conclusion. Its less assertive quality makes it common in hymns, where the iv-i progression often accompanies the closing "Amen."
Subdominant → Tonic (IV - I)
D Major → A Major
While perfect authentic and plagal cadences provide closure, the half cadence concludes on the dominant chord, creating expectation rather than resolution. This harmonic incompleteness builds anticipation, making the subsequent tonic resolution more satisfying and contributing to the music's dynamic shape.
Tonic, or Supertonic, or Subdominant → Dominant: (I / ii / IV → V)
A Major→ E Major
B Minor → E Major
D Major → E Major
The interrupted (or deceptive) cadence sets up a strong resolution, only to unexpectedly shift to the submediant. This harmonic surprise creates a sense of delayed gratification and can smoothly transition to a new tonal center, particularly the relative minor of a major key.
Dominant to Submediant (V - vi)
E Major → F# Minor
Diatonic harmony, though seemingly simple with its seven diatonic triads (and inversions), offers a surprising expressive range. Compelling progressions can be built using only these basic elements.
While harmonic theory can become complex, a solid foundation in diatonic chords is essential. Stability is often key, providing a strong base for more complex harmonic structures and tonal grounding.
Traditional theory categorizes diatonic chords as primary (I, IV, V) and secondary (ii, iii, vi, vii°). The primary chords (A major, D major, E major) establish the key and provide tonal grounding, creating a balanced interplay of tension, anticipation, and resolution.
The secondary chords (B minor, C# minor, F# minor, G#°) offer contrasting moods, adding color and complexity. Song analysis often reveals a strategic emphasis on primary chords, with secondary chords used for interest and variety.
Extended chords and accidentals should be used thoughtfully. Their power lies in creating heightened color and drama, but overuse can destabilize the harmony. Purposeful use maintains clarity and impact.
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