Discover the potential of F# minor and discover the tricks to writing compelling chord progressions. We'll begin by analyzing successful songs and their chord progressions. By dissecting their harmonic foundations we reveal the underlying music theory contributing to their appeal.
Next, you'll learn advanced techniques—including secondary dominants, parallel chords, and key modulations—with clear explanations of their musical function and expressive potential, enriching your compositions.
Finally, we'll examine cadences and how to use them strategically to create tension and satisfying resolutions, resulting in a gratifying listening experience.
Knowing how F sharp minor is built and how its chords work is crucial for writing engaging music. In this article, we’ll only cover the basics of the scale. For an depth tutorial on the foundation of F sharp minor, see our article "Chords in F sharp minor: A Comprehensive Guide”.
The diatonic chords are derived from the seven notes of the F sharp minor scale.
The chords of F sharp minor are F#m, G#dim, Amaj, Bm, C#m, Dmaj, Emaj.
Explore the rich harmonic possibilities of F# minor with these chord progressions, ranging from simple to advanced. You'll discover how techniques like secondary dominants, parallel chords, and tonic substitutions create captivating musical textures.
Detailed explanations of these techniques are provided later in this article. By analyzing these examples, you’ll gain a deeper understanding of chord function and learn how to build anticipation and intrigue in your own compositions.
Let's dive into some common and inspiring F sharp minor progressions.
The iconic intro to Toto’s “Hold the Line” features this chord progression in F# minor. Two aspects of this intro make it particularly memorable. Firstly, the A major chord functions as a passing chord, facilitating a smoother transition to the subdominant.
Secondly, the addition of a sixth to the D major chord (creating a D6) enriches the harmonic texture, making it more compelling and less conventional.
A significant factor contributing to the epic and seemingly endless quality of Europe's “The Final Countdown” melody is its underlying harmonic structure. This exact chord progression is used in the song’s intro.
The absence of a dominant chord creates a sense of continuous motion, as the progression lacks the typical resolution that signals a loop's end. The inherent tension generated by a dominant chord often implies the end of a phrase. Omitting it, however, creates a smoother and more sustained effect that has no clear ending.
As the intro comes to an end, it plays an entirely different chord progression to set up the verse: i (F#m) - VII (E/G#) - III (A) - VI (D) - Vsus4 (C#sus4) - V (C#).
This chord progression generates a compelling sense of forward momentum. The initial three chords, sharing common tones, create a strong sense of harmonic cohesion.
The suspended dominant chord introduces a moment of harmonic ambiguity before resolving definitively to C# major, which subsequently returns to the tonic as the progression repeats.
This precise chord sequence is featured in the bridge section of Gamma Ray's “Lake of Tears”.
This chord progression forms the initial section of the chorus in Mary Hopkin’s classic “Those Were the Days” Notably, the dominant chords are omitted, resulting in a somewhat directionless harmonic feel.
In contemporary pop music, a repetition of these chords, following the mediant, would be anticipated. However, this song introduces a distinct chord progression, adding a layer of depth and intrigue that a simple repetition would lack.
Next, we’ll look at the continuation of this progression.
In this section, the submediant chord functions as a tonic substitute, providing a sense of resolution, albeit without the grounded stability of the true tonic. Although the progression momentarily establishes stability with the tonic, this quickly changes with the introduction of the major dominant chord.
The sequence ends with a classic dominant-tonic resolution, as the tonic chord serves as the final harmonic element of the chorus.
This chord progression, common in pop and rock, relies on the looping of its chords. As we've seen before, omitting the subdominant and dominant reduces harmonic tension, resulting in a less directional feel and a weaker sense of resolution.
The E major chord, on the seventh scale degree, still maintains a gravitational pull towards the tonic, creating a subtle sense of beginning and end.
We hear this progression in both “Replay” by Iyaz and Kelly Clarkson’s “Behind These Hazel Eyes”.
We previously looked at a similar progression in “Lake of Tears”, making its reappearance in a vastly different genre, particularly noteworthy. In Aly & AJ’s “Potential Breakup Song” these chords are presented within an upbeat pop context.
A key distinction between the two progressions is the omission of the suspended dominant chord. Instead, the progression moves directly to the dominant, eliminating the brief build-up present in the earlier example.
Frenz Ferdinand's “Michael” features a seemingly simple four-chord progression. However, its distinct character arises from the use of a parallel and altered chord on the second scale degree.
It's a common practice to substitute diminished chords with harmonically stable alternatives, in this case, G# major. We can reverse engineer it from a theoretical perspective to understand why this chromatic chord works.
The dominant of G# is D#, which is a diatonic note of F# major - the parallel mode of F# minor. Subsequently, the fourth scale degree, B, is raised to B#. A major scale with a raised fourth is the Lydian mode.
So this chord is borrowed both from the parallel mode and the Lydian mode.
Although this theoretical reconstruction provides insight into the chord selection, the songwriters' process was likely more intuitive. Nevertheless, understanding the function of chords within various contexts, and why they work, is crucial for effectively conveying musical ideas.
This chord progression presents an intriguing inversion of typical harmonic movement, concluding on the tonic, the most stable chord. More often, progressions move from stability towards instability, rather than the reverse.
The initial VI and III chords offer a sense of resolution due to their shared common tones with the tonic, and the VII chord possesses a natural tendency to resolve to it. Consequently, the arrival of the tonic feels gratifying, providing the stability absent in the preceding chords and sounding naturally conclusive after the VII.
We hear this progression in “2012 (If the World Would End)” by Mike Candys.
In “Shape of My Heart” by Sting, we hear this chord progression. It’s simple yet harmonically interesting at the same time. It’s a great example of ways to get the most out of only primary chords.
This progression features a compelling interplay of major and minor dominant chords, creating harmonic interest. The inclusion of an inverted dominant chord further enhances the progression's depth and introduces a sense of instability, distinguishing it from the subsequent dominant chords.
Additionally, the suspended dominant chord provides a distinct harmonic color, further differentiating it from the concluding dominant chord.
To achieve fluid and natural chord transitions, mastering inversions is essential. While root position triads are a solid foundation, their constant use can create harmonic stagnation. Chord inversions introduce nuanced shifts in stability and harmonic color, leading to more captivating progressions.
For an extensive exploration of F# minor chord inversions, see the article “Chords in F sharp minor: A Comprehensive Guide”.
Beyond the core seven notes of the F sharp minor scale lies a wealth of harmonic possibilities. Thoughtful incorporation of the remaining chromatic notes introduces tension, surprise, and a sense of unpredictability, adding significant depth to your music.
Familiarity with all twelve notes, across any key, expands your expressive range considerably. These non-diatonic notes, known as “accidentals”, alter the standard scale tones and are denoted by sharps (♯), flats (♭), or naturals (♮).
Chromatic notes prove particularly valuable for:
The following chord progression demonstrates the use of accidentals to enrich the harmonic texture even in a simple chord sequence.
Chords: F#m - F#dim - F#m - F#dim/C - F#m - Bm - C#
Developing a keen ear is essential for both composing and improvising. Cultivating the ability to identify intervals, whether within the scale or outside of it, streamlines chord selection, simplifies key modulations, and enhances overall musical fluency.
Linking intervals to well-known melodies provides a powerful method for internalizing these sonic relationships.
For practical examples of songs that highlight each ascending and descending interval, check our “Ear Training: Songs to Practice Intervals”.
The prominence of dominant chords in Western harmony stems from their inherent instability, which resolves satisfyingly to the tonic, driving harmonic motion. Secondary dominants extend this principle, allowing us to temporarily emphasize chords other than the tonic within a key.
By using the dominant chord of a target chord, we create a momentary sense of resolution, enriching the harmonic texture and introducing temporary tension. This secondary dominant, positioned a perfect fifth above the target chord, creates a strong pull towards it, replicating the familiar dominant-tonic resolution.
The example below demonstrates a secondary dominant, specifically V/V, resolving to V. This creates a temporary tonicization of C# for harmonic emphasis.
Chords: i (F#m) - Bm (vi) - i (F#m/C#) - i (F#m) - V/V (G#7) - V (C#7) - i (F#m)
Secondary dominants offer a powerful technique for injecting harmonic surprise and sophistication into chord progressions. By temporarily emphasizing chords other than the tonic, they create a sense of harmonic tension and release, adding emotional depth and enhancing musical expression.
In F sharp minor, chromatic mediants bring a rich and colorful harmonic dimension. These chords, located a major or minor third from the tonic, introduce notes outside the key, resulting in an interesting harmonic texture that maintains a subtle link to F# minor through common tones.
It’s important to differentiate between chromatic mediants and diatonic mediants. The target chord in a chromatic mediant must contain notes that are not part of the original key signature.
For example, moving from F# minor to A minor creates a chromatic shift because A minor includes C natural, a note that does not belong to the F# minor scale.
Chords: i (F#m) - iii (Am) - II (G#) - v (C#m) - i (F#m)
We can also move down a major fourth and play D minor.
Chords: i (F#m) - vi (Dm) -i (F#m/C#) - ii°7 (G#7b5) - i (F#m)
A compelling harmonic tension arises from the interplay between the grounded stability of diatonic F sharp minor chords and the chromatic richness of mediant chords.
These chords add interesting color and depth when harmonizing a melody or as a way to enrich the texture while maintaining a tonal anchor in F# minor.
This balance between diatonic notes and chromaticism creates a sophisticated and captivating effect. Chromatic mediants are particularly effective in film scores, video game soundtracks, and genres prioritizing emotional depth and harmonic intrigue, lending a vivid narrative quality.
Chords: i (F#m) - VI (D5) - i (F#m) - iii (Am) - i (F#m) - VI (D5) - i (F#m) - iii (Am)
Chord extensions enrich harmonic textures by adding layers of complexity and depth. These extensions, built by stacking thirds above a basic triad, create seventh, ninth, eleventh, and thirteenth chords.
Like seventh chords, extended chords can exhibit various qualities, including major, minor, and dominant. Although their sound may seem intricate, their construction is systematic: the extension number reflects the scale degree above the root. For example, a ninth chord includes the ninth scale degree, and so on.
To avoid harmonic muddiness, especially in lower registers, the third and fifth are often omitted from the eleventh and thirteenth chords, ensuring clarity and effective voice leading.
Ninth chords introduce a heightened sense of harmonic richness by layering an additional third onto a seventh chord. The ninth chord offers a significantly fuller and more intricate sonic texture than both triads and seventh chords, imparting notable depth and harmonic color.
Chords: i (F#m) - iv (Bm) - i (F#m) - V9 (C#9) - i (F#m)
An eleventh chord is formed by adding another third above the ninth of a ninth chord. This harmonic voicing, especially when built on the dominant, is common in pop music, contributing a distinctively jazzy and soulful character.
A simple progression demonstrates this, featuring a C#11 on the tonic position.
Chords: i11 (F#m11) - v (C#m) - VI (D) - VII (E) - i (F#m)
The thirteenth chord, formed by adding a third above the eleventh, provides a dense harmonic texture. By strategically omitting the third and fifth, a warmer, more open sound is achieved, clearing the lower register and allowing the higher extensions to resonate with greater freedom.
Chords: (F#m) - vi (Bmadd9) - V13 (C#13) - VII (E) - i (F#m)
While commonly linked to jazz chord progression, chord extensions are not confined to that genre. Pop and rock musicians, including Muse and Jimi Hendrix, regularly integrate these sophisticated harmonies into their compositions, enhancing their musical depth and harmonic intrigue.
“Add” chords offer the harmonic color of extensions but with a lighter texture. They are formed by adding a single scale degree to a basic triad, unlike numbered extensions which include all intervening scale degrees.
For instance, Aadd9, Eadd11, and Bmadd13 consist of the triad with only the 9th, 11th, or 13th added, omitting the 7th and any lower extensions. Conversely, A9, E11, and Dm13 imply all scale degrees up to and including the 9th, 11th, and 13th, respectively.
Building on our previous discussion of chromatic notes with diminished and augmented chords in F# minor, we'll now explore relative key signatures and parallel chords. Venturing beyond the diatonic scale is a potent tool for introducing unexpected harmonic shifts, resulting in more captivating progressions.
Experimenting with chromatic chords, passing tones, parallel harmonies, and chromatic mediants provides a wealth of inspiration, particularly when overcoming creative blocks. These techniques offer a diverse range of unique harmonic colors that can ignite creativity and foster innovative musical approaches.
Every minor key has a parallel major, and conversely. These key pairs share a key signature—the same sharps or flats—but differ in their tonal centers. This distinction is fundamental: despite identical notes, chord functions and emotional impact vary significantly between the keys.
A major key's relative minor lies on its sixth scale degree, as F# minor does to A major. Conversely, a minor key's relative major is on its third degree, like A major to F# minor.
Though relative major and minor share notes, their differing tonal centers—A or F#—dictate each chord's harmonic function. Establishing either A or F# as the “home” note drastically alters the perception and usage of chords within that shared set.
Modulating to A major, the relative major of F# minor opens a new harmonic realm with seven distinct diatonic chord functions, all within the same key signature. (For a comprehensive understanding of A Major chords, refer to “Chords in A Major: A Comprehensive Guide”.)
The inherent relationship between these keys facilitates compelling harmonic interplay. This shift in the tonal center adds depth and allows for contrasting emotional expressions between musical sections.
Modulation between relative keys is a standard and effective compositional method. For instance, transitioning to A major can evoke a sense of brightness, while returning to F# minor can create a feeling of introspection or resolution.
“Junk” by Paul McCartney and “Crazy Train” by Ozzy Osbourne are two examples of songs that modulate between F sharp minor and A major.
A common modulation technique uses a shared diatonic chord as a pivot between keys. The E7 chord in the example below functions as the dominant of A major, creating a V-I resolution that tonicizes A major before modulating to it. This effectively establishes A major as a temporary key center before it becomes the permanent key.
Chords: F#m - E - F#m - A - D - E7 - A - E - A - D - F#m - E
Parallel chords, created by altering a chord's mode (major to minor or vice versa) via accidentals, introduce surprising harmonic variations. For example, in F# minor, changing the subdominant from A major to A minor (by lowering C# to C natural) generates a noticeable emotional shift.
This technique can create a sense of surprise and subtly modify the prevailing mood. A frequent application is the use of the parallel major tonic, F# major, still within F sharp minor, providing a bright contrast to the established minor tonality. The V-I cadence in a minor key is called a Picardy third.
Keep in mind that excessive use of parallel chords can obscure the tonal center and weaken harmonic stability. However, strategic implementation can accentuate key moments and enrich a song's overall harmonic texture.
Similar to punctuation in language, cadences articulate and accentuate musical phrases, establishing structure and emotional resonance. They function as musical punctuation, delineating the emotional narrative.
By employing diverse cadences, composers and producers craft a spectrum of expressive effects, ranging from dramatic climaxes to subtle, contemplative conclusions.
We will now examine common cadences within the key of F# minor.
The traditional dominant-tonic cadence provides a definitive sense of resolution, effectively signaling the end of a musical phrase or composition. This clear conclusion imparts a feeling of musical finality. A perfect cadence, which achieves the most powerful resolution, necessitates both chords in root position and the tonic chord's melody ending on its root.
Dominant → Tonic (V - i)
C# major → F# minor
To heighten the resolution to the tonic, use a dominant seventh chord.
C#7 → F# minor (V7 - i)
Differing from the decisive resolution of a perfect cadence, the plagal cadence, also known as the “Amen” cadence, provides a more subdued conclusion. Its gentle quality makes it a common feature in hymns, where the iv-i progression is frequently used to accompany the final “Amen".
Subdominant → Tonic (iv - i)
Bm → F#m
Unlike the finality of perfect and plagal cadences, the half cadence concludes on the dominant, creating a sense of harmonic incompleteness. This unresolved feeling cultivates anticipation, enhancing the satisfaction of the eventual tonic resolution and shaping the music's dynamic flow.
Tonic, or Supertonic, or Subdominant → Dominant: (i / ii° / iv → V)
F#m → C#
G#m7b5 → C#
Bm → C#
The interrupted, or deceptive, cadence establishes an expectation of strong resolution, only to deviate unexpectedly to the submediant chord. This harmonic surprise generates a sense of delayed resolution and can facilitate a smooth modulation to a new tonal center.
Dominant to Submediant (V - VI)
C# → D Major
Diatonic harmony, though built from only seven triads and their inversions, possesses a surprising capacity for expression. Compelling and interesting progressions can be written using these basic building blocks alone.
While harmonic theory can be intricate and generate intriguing progression, a strong grasp of diatonic chords is essential. Stability serves as a crucial foundation for more elaborate harmonic structures and tonal grounding.
Classical theory divides diatonic chords into primary (i, iv, v) and secondary (ii°, III, VI, VII). The primary chords define the key and provide tonal grounding, establishing a balance of tension, anticipation, and resolution.
The secondary chords offer contrasting moods, enriching the harmonic palette. Song analysis often highlights a deliberate reliance on primary chords, with secondary chords used to introduce variety.
Extended chords and accidentals should be used with intentionality. Their strength lies in creating heightened color and drama, but overuse can destabilize the harmony. Thoughtful application preserves clarity and impact.
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