Understanding the harmonic framework of any key is a crucial skill for musicians of all levels. Whether you're composing a simple melody or a complex arrangement, a solid grasp of chords and their roles and function within any key signature can unlock endless musical possibilities.
In this guide we’ll look at chords and chord progressions in A Major. We’ll look at:
By the end of this article, you'll be well-equipped to create rich, harmonically interesting music in the key of A Major.
The notes in A major come from the particular pattern of whole steps (w) and half steps (h) that makes up the Ionian mode.
A note's position within a scale is known as its scale degree. This is closely linked to harmonic function, which defines a chord's role within a key. In the A major scale, each note has a specific scale degree, emphasizing its relationship to the tonic note, A.
The seven scale degrees are the building blocks of the diatonic chords in the key signature, each contributing a unique harmonic function within a key. A chord's harmonic function is determined by its level of resolution and tension in relation to the tonic.
For example, the A major chord, with a dominant function, is unstable and creates tension. As the tonic in the A major key signature it’s stable and provides resolution.
Roman numerals are used to identify both a chord's harmonic function and quality. Uppercase numeral means the chord is and lowercase is used for minor. The numeral itself corresponds to the scale degree and the harmonic function of the chord.
The diatonic notes, the natural notes of the A major scale, are the building blocks of the A major key signature. Chromatic notes, which lie outside the diatonic scale, are a powerful tool for harmonic color, depth, movement and interest to chord progressions.
They can be used to increase tension, modulate to other keys, or alter the quality of a chord by substituting a diatonic major third with a chromatic minor third, or vice versa.
A diatonic note that has been altered is called an accidental. These alterations are indicated by sharp (♯) and flat (♭) symbols. To restore a note to its original diatonic pitch, a natural (♮) symbol is used.
The tonic note is the foundation of the scale and key signature, providing a sense of stability and resolution. Chord progressions that conclude on the tonic chord offer a sense of resolution, much like returning home.
The minor supertonic chord creates tension that typically resolves to the dominant chord. This gives it a subdominant function, similar to the major IV chord. Using a minor ii chord as a subdominant offers greater versatility in your chord progressions.
The interval between the tonic and mediant offers a contrasting harmonic flavor, with one chord major and the other minor, while maintaining a similar overall tonality.
Mediant chords share two notes with the tonic, making them suitable for tonic substitution. Strategic use of the mediant as a tonic substitute, for example in verses, can heighten the impact of the tonic chord, particularly in climactic moments like choruses.
The D major chord, the subdominant, offers a wide range of options within A major chord progressions. It provides a contrasting feel to the tonic, creating anticipation and a temporary departure from the tonal center.
The subdominant, as its name suggests, smoothly transitions to the dominant chord, further increasing tension. The transition from the subdominant to the minor vi chord is a particularly pleasing major-minor contrasting interval.
The IV-I progression is a satisfying conclusion known as the plagal cadence. We'll delve deeper into cadences and musical punctuation later.
Dominant chords are inherently unstable. They strongly pull towards a chord with stability, typically the tonic. The fifth scale degree is the only position where a dominant seventh chord occurs naturally, which contains an interval of a tritone, which intensifies the pull to the tonic, allowing for the strongest resolutions in western music.
The submediant chord, sharing two notes with the tonic, transitions smoothly to both the tonic and mediant chords. As a minor chord, it introduces a melancholic quality to major key progressions.
In major keys, the submediant chord is the tonic of the relative minor key. This makes the submediant a convenient way to access a contrasting tonal center within the same key signature. More on relative keys later.
The B diminished chord is the most dissonant chord in major key signatures. Its inherent tritone creates instability and a strong pull towards the tonic. While diminished chords are vital in jazz music, they are less commonly used in pop and rock genres. When used, they often serve as passing chords for smoother transitions or as temporary dissonances that resolve quickly.
The diatonic chords in A major are categorized into primary and secondary chords. Primary chords form the foundation of harmonic structure in a chord progression, while secondary chords offer additional harmonic color and richness.
To truly understand chord intervals, tonality, and quality, experiment with various chord combinations. Start with the tonic chord and explore the intervals to each diatonic chord.
Additionally, experimenting with chord inversions will help you discover how they alter the sound of each chord and influence subsequent chord intervals.
Developing a strong foundation in scale patterns and intervals is crucial for writing harmonious melodies and well-structured chord progressions.
Recognizing the pattern of half and whole steps in A major will facilitate smoother voice leading, minimizing large leaps between notes during chord transitions.
Cadences are the musical equivalent of punctuation marks. Like periods, commas, exclamation points, and question marks in language, they provide structure and emphasis. By varying cadences, you can add emotional depth and dynamic variation to your music. Some cadences offer stronger resolutions than others, allowing you to create more emotionally impactful moments in specific sections of your song.
In this section, we'll examine some of the most common cadences in A major.
Dominant → Tonic (V - I) E → A
The classic V-I cadence, with its strong resolution, is a well-known technique for concluding a song. Its clear and decisive ending is synonymous with musical closure. An even more powerful resolution is achieved when a dominant seventh chord resolves to the tonic.
E7 → A (V7 - I)
Two requirements for the perfect cadence is that both chords are in root position, meaning the root of each chord as the lowest note. And the highest voice of the tonic chord must also be the root of the chord. This ensures the strongest possible resolution.
Subdominant → Tonic (IV - I) D → A
The plagal cadence, also known as the “Amen Cadence”, provides a softer conclusion compared to the perfect cadence. This gentler quality has been frequently used in traditional hymns that end on the interval IV - I to the word “Ah-men”.
Tonic, or Supertonic, or Subdominant → Dominant: (I / ii / IV → V) A→ E
Bm → E
D→ E
The half cadence interval ends on the dominant chord, an inherently unstable chord. This prevents it from achieving the definitive sense of finality found in perfect and plagal cadences. However, ending a phrase on the dominant can intensify the impact of the subsequent tonic chord, creating a more powerful and energetic transition to the next section of the song.
Dominant to Submediant (V - vi) E → F#
This cadence initially suggests a strong resolution, such as a I-V-I progression. However, it subverts expectations by ending up on the submediant. If the music transitions to the relative minor key, this cadence can serve as a bridge to the new tonal center.
Next, we'll explore some interesting chord progressions in A major. We'll pay close attention to the strategic use of chords like the mediant and submediant as tonic substitutes, as well as various cadences. Keep in mind that a cadence is a specific punctuation, not just the last two chords of a chord progression.
Let's explore common chord progressions in A major:
What sets this progression apart from many other chord progressions is the interval of a major second between the tonic and supertonic chords. This interval, as heard in Beyoncé's “Halo” injects an immediate surge of energy, drive and momentum into the song. It creates anticipation without too much tension.
Ed Sheeran uses this chord progression in the chorus of his early hit “The A Team”. What makes this progression special and creative is its unconventional starting point: a secondary chord.
Typically, choruses begin on primary chords, providing a strong harmonic foundation and emotional impact. However, by initiating the chorus with a B minor chord, Sheeran immediately diverges from the established tonal center, creating a sense of intrigue and unexpectedness.
Adele's iconic “Someone Like You” is a great example of how a major key signature can sound melancholic. The harmonic progression, moving from the tonic to two consecutive minor chords, inherently evokes a minor mood.
The close relationship of these minor chords to the tonic, together with the absence of a dominant chord, creates a sense of repetition and endlessness. This progression lacks the tension and release typically associated with a dominant-tonic resolution, resulting in a sustained, melancholic atmosphere.
This is a fairly standard chord progression built around primary chords. However, the sequence takes an interesting turn with the minor iv chord that concludes it. Going from a major chord to the minor chord with the same root accentuates the minor quality of this chord.
We hear this exact progression in Foo Fighters' “Walk”. The final chord of the progression feels unexpected, but not particularly dissonant, despite being a non-diatonic chord.
This progression is intriguing as it deviates from conventional diatonic harmony. In the verse of the Beatles' “Help!”, the seventh scale degree is lowered by a half-step to G natural. This modal shift transforms the seventh chord from a diminished G° to a major G chord.
The flattened seventh scale degree is characteristic of the Mixolydian mode. Substituting dissonant diminished and augmented chords with less dissonant variations of the scale degree offers a creative approach to expanding harmonic possibilities and achieving a more consonant sound.
It's important to remember that the key signature of a song and the corresponding scale aren’t strictly speaking the same thing. Songs in A major aren’t restricted to diatonic chords. In fact, incorporating non-diatonic chords can add harmonic depth and complexity to your music.
Chromatic notes enable you to create diminished, augmented, and various major or minor chords. Another way to enhance harmonic interest is to modulate to the relative minor key, a topic we'll explore next.
Every major key has a related minor key, and vice versa. These key pairs share the same notes but have different tonal centers and chord functions.
The relative minor is found on the sixth scale degree, the submediant. In A Major, that’s F#.
The relative major is found on the third scale degree, the mediant, in a minor scale. In F# minor, that’s A.
Modulating to F# minor opens up seven new diatonic chord functions and a fresh tonal center, all within the same key signature. For more information on this tonal center, check out the article “Learn the Chords in F# Minor”.
The close relationship between A major and F# minor enables interesting harmonic variety through modulation. The subtle tonal shift can add depth and establish distinct moods for different song sections.
Modulating between relative keys is a common technique. For example, you can modulate to F# minor for more introspective and melancholy parts of the song. Conversely, you can return to A major when the music is more uplifting and energetic, for example.
A temporary shift to different keys or chord qualities is a powerful technique for adding musicality and harmonic interest to your music. It allows you to highlight specific moments without compromising the overall tonal foundation.
In this section, we'll explore two simple techniques for creating more complex harmonic textures in your songs.
Parallel chords involve using accidentals to alter the quality of a chord. For instance, lowering the third of the submediant chord from F♯ to F gives you a D minor chord. This can lead to unexpected twists in your song. Similarly, you can temporarily use A minor instead of A major as the tonic when the moment calls for a minor quality.
That said, it's important to use parallel chords sparingly. Overusing them can disrupt the focus and stability of your song. Use them intentionally to highlight specific moments or to enrich the harmonic landscape of your music.
A secondary dominant is a chord that temporarily borrows the function of a dominant chord from another key. Essentially, secondary dominants allow us to introduce a V-I resolution from a different tonal center, adding depth and complexity to the harmonic structure.
One of the most common secondary dominants is the "dominant of the dominant" (V/V). For instance, in A Major, the dominant chord is E Major. The secondary dominant would be B Major, as it's the dominant of E Major. By placing the V/V before the V chord, we create a V-I resolution from the key of E major.
Example:
Let’s add a V/V to a simple I - V - I progression to see how it enhances it.
I - V/V - V - I
A - B7 - E7 - A
Even a basic knowledge of music theory can significantly expand your harmonic palette. By understanding the relationships between chords and key signatures, you can create more sophisticated and interesting chord progressions.
Understanding the relationships between chords within A Major, and other keys, is essential for crafting sophisticated chord progressions.
As you work with Musiversal's musicians, you'll quickly realize the value of understanding the theory behind your music. This knowledge will empower you to effectively communicate your musical intentions and guide their performance.
For example, including a 'V/V' in your chord chart signals the intent of a secondary dominant, guiding the musician towards the desired harmonic connection through specific voice leading.
If you need assistance in writing engaging chord progressions or adding harmonic depth to your melodies, our pre-production and songwriting experts are ready to help.
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