Knowing how chords, intervals, and chord progressions sound in different keys is crucial for writing music with purpose. Understanding the possibilities within a key signature allows you to elevate your music melodically and harmonically.
By mastering the creation of more intricate harmonies, employing key changes, utilizing parallel and borrowed chords, and more, you can take your music to a whole new level.
This article will delve into chords in C Major, the harmonic function of each chord, cadences for completing musical phrases, and common chord progressions in C major. Additionally, we will explore how to enhance the complexity and interest of chord progressions in C Major by incorporating parallel chords and secondary dominants.
The notes in C major follow the scale pattern of the Ionian mode (also known as the Major scale). What sets C major apart from other major scales is that it contains no sharps or flats. In other words, it’s made up of only the white keys on a piano. The pattern of whole steps (w) and half steps (h) for C major is as follows:
The scale degree of a note refers to its position within a scale. This is closely tied to harmonic function, which describes the role of a chord in any key signature. Each note within C major has a unique scale degree, which indicates its relationship to the tonic (the root note of the key).
Chords are constructed from these seven scale degrees, which gives each chord a unique role, or function, within the key signature. Harmonic chord function can be understood as the degree of tension or resolution a chord hasin relation to the tonic.
For example, G maj as the dominant chord is unstable and provides tension. As the tonic, however, it’s the most stable and resolved chord in the key of G major.
Roman numerals are used to specify both the harmonic function of a chord within a given key signature and its quality. Uppercase numerals signify major chords, while lowercase indicates minor chords. The numeral itself corresponds to the scale degree.
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The notes that make up the C major scale are called diatonic. They provide the foundational building blocks of the C major key signature. Chromatic notes fall outside the diatonic scale and are a great tool for adding specific harmonic colors, increasing tension, or modulating to different keys.
An altered diatonic note is called an accidental and is marked with the symbols for sharps (♯) and flats(♭). When the pitch returns to its diatonic pitch the natural symbol (♮) is used.
The tonic is the foundation for the entire scale and key signature. It offers resolution and stability. Chord progressions that return back to the tonic feel resolved and like they return home.
The D minor chord adds a somber minor quality to chord progressions in C major. They add tension which is often resolved by moving to the dominant chord. Which is why the chord has a subdominant function within the C major key.
This concept is similar to Secondary dominants, which we’ll return to later in the article.
Mediant chords share two notes with the tonic, making them suitable for tonic substitution. This commonality results in a smooth transition between the two chords, while still providing a contrasting harmonic quality.
Using the mediant instead of the tonic, in specific circumstances, can make the eventual move to the tonic all the more powerful.
F Major offers a versatile range of options within chord progressions. It provides a contrasting feel to the tonic which creates a sense of anticipation and a temporary departure from the tonal center (unlike the mediant, for example).
The subdominant, as the name might suggest, moves smoothly to the dominant for heightened tension.
Dominant chords, in both major and minor key signatures, are inherently unstable. They possess a strong drive to resolve to a more stable chord, often the tonic. The fifth scale degree is also the only position where a dominant seventh chord occurs naturally.
These characteristics make the dominant chord a great choice for creating tension that moves to a satisfying resolution. We’ll return to the importance of the dominant chord in the section about cadences.
The submediant chord, sharing two notes with the tonic, transitions smoothly to both the tonic and the mediant. Being a minor chord it infuses major chord progressions with a melancholy sensation. Some consider the minor ii chord to offer more of a somber tonality compared to the 6th.
The submediant chords, in major scales, are located in the same scale degree as the root of the relative minor key. This relationship provides a convenient way to access a contrasting tonal center within the same key signature.
The B diminished chord is the most dissonant chord in the key signature. It has a naturally occurring tritone which causes its instability and need for resolution to the tonic. In jazz music, diminished chords are paramount. In pop and rock, however, it’s less frequently used.
Chords in any key signature are grouped into two categories: Primary chords and secondary chords. It’s the primary chords that form the foundation of harmonic structure in a chord progression, while secondary chords introduce additional harmonic texture and color.
The best way to further deepen your understanding of chord intervals and their tonality and quality is to experiment with different chord combinations. Start with the tonic chord and explore the intervals to all diatonic chords, one by one.
Experimenting with chord inversions lets you explore how they change the sound of each chord and how that affects the interval to the subsequent chords.
To write harmonious melodies and well-structured chord progressions, a strong understanding of scale patterns and intervals is important. Recognizing the placement of half and whole steps in C major will facilitate smoother voice leading, minimizing large leaps between notes when transitioning from one chord to the next.
Cadences are musical punctuations. In language we use periods, commas, exclamation marks, question marks and so on. In music we can do the same. Not every phrase needs to end the same way.
Some cadences have a stronger resolution than others. Using different cadences in a song will heighten the overall emotional impact of the music. This is a great way of breathing life into your songs and really makes certain sections stand out.
In this section we’ll look at some of the most common cadences in C major.
The classic V-I cadence, with its powerful resolution, is a widely recognized and frequently used method to wrap up a song. Its clear and definitive ending has become synonymous with musical closure.
An even stronger resolution comes from the Dominant 7th chord resolving to the tonic.
A perfect cadence needs both chords to be in root position, meaning the root of each chord is the lowest note. Some scholars also argue that the highest voice of the tonic must be the root, as well, because this gives the most powerful sense of resolution.
The plagal cadence has a softer finish compared to the more definite resolution in the perfect cadence.
The plagal cadence has a less defined resolution and is characterized by its softer quality. It’s known as the “Amen Cadence” because of its frequent use in traditional hymns that end with the phrase “ah-men” to the VI - I cadence.
The half cadence ends on the dominant chord, which is inherently unstable. Therefore it doesn't provide the same sense of finality as the previous cadences.
This cadence subverts expectations. It initially suggests a strong resolution, similar to a perfect or plagal cadence, but ultimately ends up on the sixth scale degree. If the music continues in the relative minor key, this cadence can serve as a bridge to modulate into the new tonal center.
Here we’ll look at some great chord progressions in C major. Pay extra attention to how some chords are used. For example the mediant or submediant as tonic substitutes and specific cadences. Keep in mind that not every ending of a chord progression is the same as a cadence. A V-I interval can appear without it necessarily being a perfect cadence.
Let’s dive into common chord progressions in C major:
This is the chord progression from The Beatles' "Let It Be" . This classic chord progression can be divided into two repeating four-chord patterns. The first pattern, I-V-vi-IV, is a commonly used progression in pop and rock music. However, the Beatles, of course, add their own unique touches to keep it more original.
In the first phrase, they introduce a passing ii chord before the next set of chords begins. This adds a subtle harmonic shift and creates a sense of anticipation.
In the second half, the progression ends on a IV-I interval, but with two passing chords in between. This creates more melodic movement which prevents the music from feeling too repetitive.
These subtle harmonic embellishments help to make "Let It Be" a memorable and enduring song.
This chord progression can be used to create a sense of ascending tension, similar to what you hear in The Temptations' classic song “My Girl” In the chorus, the upward movement of the chords builds anticipation and tension, leading to a satisfying resolution on the tonic chord, which perfectly aligns with the song's iconic hook and lyrics, “My girl”.
Here we have a simple chord progression that constantly stays close to home. Going from I - iii is a shirt in quality, but keeping two of the same notes makes this interval smooth and it stays within the same tonal center.
The IV chord is the first to add a contrasting harmony. Then it returns to the tonic, which is both the last and the first chord of this particular chord progression. We hear this exact movement in “Use Somebody” by Kings of Leon.
A good idea to keep the tonic and the mediant from feeling too repetitive or close to home, is to use inversions.
A distinctive feature of the chord progression in “Dust in the Wind” is its ability to avoid sounding repetitive. Kansas cleverly subverts expectations by ending the first phrase on the minor vi chord and starting the second half on the major V. This unexpected harmonic shift creates a sense of uplift and emotional impact.
Normally, we would expect this submediant to resolve to the tonic after the first phrase. However, going to the dominant, the most unstable chord, is a way to play with expectations and add an extra layer of interest to the music.
At the end of the entire chord progression we do go from Am to C, as we would expect, and this makes that interval all the more powerful and complete.
Rihannas’ “Stay” uses this chord progression. While her song is in C major, it certainly feels like an A minor song. This is because of the constant repetition of the minor vi chord throughout the majority of the intro and verses.
The interval of ii - vi is also particularly melancholy - especially in the context of a C major key signature. The minor ii chord can often have a subdominant chord function, meaning it often goes to the V chord.
Considering we also use the IV chord, we effectively have two subdominant chords and neither resolves to the dominant. Both go to the tonic and the relative minor tonic.
This prevents this progression from ever really reaching a peak, which is particularly unusual in a chorus or hook of a song, but it can be a great means to convey a specific emotion.
It’s crucial to remember that a key signature of a song and the corresponding scale are not necessarily mutually exclusive. Songs in C major can use non-diatonic chords for added harmonic interest and complexity.
Now, diatonic chords are guaranteed to work on a harmonic level, but they can be quite limiting at times. By raising or lowering scale degrees can create diminished, augmented, and different major or minor chords.
There are also options to modulate to the relative key, which we’ll look at next.
Every Major key has a corresponding minor key, and vice versa. These two keys share the exact same notes but differ in tonal center and chord functions.
The relative minor is found on the sixth scale degree, the submediant. In C Major, that’s A.
The relative major is found on the third scale degree, the mediant, in a minor scale. In A minor, that’s C. The different tonal center gives you seven unique chord functions. This can allow you to create tensions and different kinds of resolution by modulating to the relative key signature. For more information about the relative minor of C Major, read the article Learn the Chords in A Minor.
Due to the close relationship between C major and A minor, you can easily create harmonic variety by modulating between them. This subtle shift in tonality can add interest and create different moods for various sections of a song.
Modulating between relative keys is a common technique. For example, you can modulate to C major for a more energetic or uplifting part. Conversely, you can go to A minor for the more introspective sections of the songs.
A temporary modulation to a different key can be a powerful tool for adding harmonic depth to your music. This technique allows you to emphasize specific moments in the song without altering the overall tonal foundation. Instead, it expands the harmonic palette you've already established.
Parallel chords involve using accidentals to alter the quality of a chord. For instance, raising the third of the subdominant chord from A to A♯ creates a F minor chord. This technique can have a surprising effect on your music, leading it in unexpected directions.
However, it's important to use parallel chords sparingly. Overusing them can disrupt the focus and stability of your song. Use it for emphasizing moments or simply to enrich the harmonic landscape of your music with clear intention.
A secondary dominant is a chord that momentarily functions as the dominant chord of another chord, creating a feeling of harmonic tension and resolution. Effectively, secondary dominants allow us to introduce a V-I interval from a different key signature which adds depth and complexity to the established harmonic structure.
Dominant chords are built on the fifth scale degree. The most common secondary dominant chord in chord progressions is one based on chord V - in other words, the dominant of the dominant (V/V). In C Major, the dominant is Gmaj, which makes Dmaj the dominant of the dominant.
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
C - D - G - D
Even just a basic understanding of music theory can open up a world of possibilities, instantly providing you with a broader harmonic palette to add to your music. Recognizing the relationships between chords and key signatures, can help you create more engaging and interesting chord progressions.
Understanding the relationships between chords in C Major and other keys is essential for creating chord progressions that go beyond the basic and traditional. This knowledge allows you to explore more complex and interesting harmonic possibilities.
When recording with Musiversal's session musicians, clear communication is essential for achieving the best results. Explaining your musical ideas, for example including the use of secondary dominants, will help the musicians understand your vision and perform accordingly.
If you use the notation 'V/V' in your chord chart, it will indicate to the musicians that a secondary dominant is intended, guiding their performance toward the desired connection between chords. Understanding the purpose and motivation behind chord changes can enhance the musicians' ability to shape their performance to match your vision.
If you need help creating an engaging chord progression or adding harmonic interest to your melody, reach out to our pre production and songwriting experts who are always here to help you. With an Unlimited subscription, you not only have access to our vast network of 75+ professional session musicians but also to skilled songwriters and producers who can help you craft your best music.
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