A strong foundation in music theory is essential for musicians and producers at all levels. Understanding the building blocks of any key, such as diatonic and chromatic chords and their relationships, is fundamental to writing intentional and expressive music.
In this guide, we'll explore the harmonic landscape of E Major. Here you’ll learn how to:
By the end of this article, you'll have a better understanding of basic music theory to help you write better and more interesting chord progressions in E Major.
The E major scale is constructed using a particular pattern of whole and half steps, which is characteristic of the Ionian mode.
Each note within a scale occupies a specific position, known as its scale degree, which correlates to its harmonic function and the role of each chord within the key. The harmonic function of each chord in E major is determined by its level of tension provided relative to the tonic chord.
The seven scale degrees serve as the basis for the diatonic chords within a key, each fulfilling a specific harmonic role. A chord's harmonic function is determined by its relative stability or tension in relation to the tonic.
For example, the E major chord, acting as a dominant chord in the A major key, is inherently unstable and generates tension. However, as the tonic chord in the E major key, it provides stability and resolution.
Roman numerals are used to denote both a chord's harmonic function and its quality (major or minor). Uppercase numerals represent major chords, while lowercase numerals signify minor chords. The numeral itself corresponds to the scale degree and the associated harmonic function of the chord.
The diatonic notes of E major are those that naturally occur when you follow the Ionian whole and half step pattern. The remaining notes are known as chromatic notes, which are powerful tools for adding harmonic richness, depth, and unpredictability to your chord progressions.
These chromatic notes can be used to create tension, modulate to different keys, or simply alter the quality of chords from major to minor, or vice versa. We'll explore this topic further in the section "Adding Complexity to E Major Chords").
When a diatonic note is modified, it's 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 serves as the foundation of the scale and key signature, providing stability and a sense of resolution. Chord progressions that conclude on the tonic chord create a satisfying sense of resolution, similar to bringing the entire key signature back home to a familiar place.
The minor supertonic chord introduces tension and frequently resolves to the dominant chord. This gives the F#, a subdominant function, similar to the major IV chord.
The tonic and mediant chords, despite sharing a similar tonality, offer contrasting harmonic qualities since one is major and the other minor.
The mediant chord shares two notes with the tonic, making it a suitable candidate for tonic substitution. By strategically replacing the tonic with the mediant, especially in verses, you can amplify the impact of the tonic chord, particularly in climactic moments like choruses or powerful cadences.
The subdominant chord offers diverse possibilities within E major chord progressions. It provides a contrasting element to the tonic, building anticipation and temporarily diverting from the tonal center.
Subdominant chords transition naturally to the dominant chord, which increases the tension. Intervals from the subdominant to the minor vi chord creates a particularly appealing major-minor contrast.
A IV-I progression offers a satisfying resolution, known as the plagal cadence. We'll delve deeper into cadences and musical punctuation later.
Dominant chords are inherently unstable and possess a strong tendency to resolve to the tonic chord. The dominant seventh chord, naturally occurring on the fifth scale degree, contains a tritone interval that further intensifies the desire for a strong resolution back to the root of the key.
The interval of a D7 to the tonic is a powerful musical punctuation and is called a perfect cadence. We'll delve deeper into cadences later in this article.
The submediant chord shares two notes with the tonic, facilitating smooth transitions to both the tonic and mediant chords.
The submediant chord also serves as the tonic of the relative minor key. The submediant chord enables you to seamlessly modulate to the relative key signature, something we discuss further down.
The D# diminished chord is highly dissonant. Its inherent tritone creates instability and a strong pull towards resolution. While diminished chords are crucial in jazz, they are less common in pop and rock. When used, they often serve as brief, dissonant chords that quickly resolve to more stable harmonies, or as transitional chords to smooth out progressions.
Diatonic chords in E Major are categorized into primary and secondary chords. Primary chords form the backbone of the harmonic structure of a progression, while secondary chords add harmonic color and complexity.
To truly understand chord intervals, tonality, and quality, experiment with a variety of chord combinations. Begin with the tonic chord and explore the intervals to each diatonic chord.
Additionally, experimenting with chord inversions will help you understand how they alter the sound and stability of each chord.
Developing a strong foundation in scale patterns and intervals is essential for writing harmonious melodies and well-structured chord progressions regardless of the genre and style of music.
Recognizing the pattern of half and whole steps in E major will facilitate smoother voice leading which generally seeks to minimize large leaps between notes during chord transitions.
A great way to learn to recognize intervals is to associate them with familiar songs. Our article on Ear Training provides a list of songs that utilize each interval, both ascending and descending.
Just as punctuation marks structure and emphasizes language, cadences serve a similar function in music. They are the musical equivalent of punctuation, shaping the emotional impact of a musical phrase.
By varying cadences, producers and composers can create a wide range of musical expressions, from powerful climaxes to soft to gentle or ambiguous endings.
In the following section, we'll explore common cadences in E major.
Dominant → Tonic (V - I)
B → E
The V-I cadence, with its strong resolution, is a well-known technique for ending music phrases or songs. Its clear and decisive ending is simply synonymous with musical closure. An even more powerful resolution is achieved when a dominant seventh chord resolves to the tonic.
B7 → E (V7 - I)
For a perfect cadence to occur, two conditions must be met: both chords must be in root position, meaning the root of each chord is the lowest note, and the highest voice of the tonic chord must also be the root of the chord. These conditions ensure the strongest possible resolution.
Subdominant → Tonic (IV - I)
A → E
The plagal cadence, often referred to as the "Amen Cadence," offers a more gentle conclusion compared to the perfect cadence. This cadence has been frequently used in traditional hymns and played to the final phrase “amen”, giving it the nickname “the amen cadence”.
Tonic, or Supertonic, or Subdominant → Dominant: (I / ii / IV → V)
E→ B
F# → B
A→ E
A half cadence ends a music phrase on the dominant chord. Unlike perfect and plagal cadences, which provide a definitive conclusion, the dominant chord is inherently unstable and leaves the phrase feeling incomplete.
The half cadence is a great tool for building anticipation. Ending a bridge or pre-chorus in the dominant allows for an impactful tonic chord to start the succeeding section. This strategic use of the half cadence can enhance the overall dynamic and emotional journey of your music.
Dominant to Submediant (V - vi)
B → C#
The interrupted cadence initially suggests that the phrase is going towards a strong and definitive resolution. However, it takes an unexpected turn and instead ends on the submediant. If the music intends to modulate to the relative minor key, this cadence can function as a bridge between the two tonal centers.
Here, we'll delve into some intriguing chord progressions in the key of E major. We'll highlight the strategic use of chords like the mediant and submediant as substitute tonic chords, and explore various cadences.
Remember, a cadence is more than just the final two chords of a progression. It's an intentional musical punctuation. A I-V-I sequence isn't a perfect cadence unless it completes the musical phrase.
Let's explore common chord progressions in E major:
This is a straightforward chord progression used countless times in songs across a multitude of genres. It establishes the tonal center by starting on the tonic, then immediately moves to the submediant, which shares a similar tonality due to the number of shared notes, while offering a minor quality.
We hear this exact chord progression in Ed Sheeran's "Photograph". This song is a great example of how you don't need to play in a minor key signature to write melancholic music. There are three major primary chords used in this chord progression, and Sheeran makes it feel minor due to the context of the entire song.
This E major chord progression sticks close to the tonal center by using the tonic, mediant, and submediant as the first three chords. It doesn't reach a high level of tension, as the final chord is the subdominant A major. This adds a sense of anticipation but never reaches a "peak," making it suitable for looping since it lacks a clear sense of finality.
Miley Cyrus uses this chord progression in her anthemic "We Can't Stop". In the chorus, a quick dominant B major chord is used as a passing chord, resolving to the tonic as the progression repeats. This punctuates the entire progression as the dominant naturally leads to the tonic for resolution.
Justin Bieber's "Love Yourself" employs this chord progression in an interesting way. He divides the chord progression into two parts: I-V-vi, followed by ii-I-V. By starting the second measure of the main riff with the supertonic F#m, he adds variety and maintains a sense of movement in the chord progression, compared to starting every measure on the tonic.
It's also intriguing to note the placement of the I-V interval. The first instance starts the progression, immediately building tension. The second time around it completes the phrase, ending it on a high level of tension that resolves neatly to the tonic.
Starting a chord progression on the dominant is beginning the music phrase in a heightened state. We hear this in Robbie Williams' "Angels". The chorus opens in an uplifting manner, with the chords gradually descending back towards the tonic.
As the melody and chords reach the tonic, it feels like a moment of rest, given that the chorus began on the most tension-filled chord in the scale. As the progression repeats, the harmony ascends back to the dominant, providing an energetic lift.
The Band Perry's "If I Die Young" primarily uses this chord progression throughout the entire song. The subdominant chord can often have a minor quality, even in major keys. "If I Die Young" is a good example of this, as the song feels minor despite being in E major.
Furthermore, starting a chorus on the subdominant chord is an effective way to separate it from previous sections of the song that are more centered around the tonic. The subdominant is a primary chord, but it offers distinct characteristics compared to the tonic and dominant. It contrasts with the tonic, and it's softer and provides less tension than the dominant chord.
The first part of the chord progression in Adele's "All I Ask" follows a diatonic order, ascending smoothly to the dominant chord, where the tension peaks before resolving back to the tonic.
The second half of the chord progression subverts expectations. Instead of returning to the dominant, it unexpectedly moves to the chromatic G# major. From a theoretical perspective, this is a secondary dominant chord, which we'll explore further later. The major quality of this chord is both uplifting and mournful in the context of this song.
In the second half of the verse, the chords are I (E) - iii (G#m) - IV (A) - V (B) - V/ii (G#).
Using chromatic chords can significantly impact the emotional weight of your chord progressions and overall music.
These are the chord progressions of the chorus to “All I Ask” by Adele. There are two interesting aspects to look at here: the first is that the tonic is followed by a secondary dominant chord, which is a chromatic chord and a dominant borrowed from the F# major scale.
Secondly, the B major dominant chord is inverted with the third being the lowest note. This helps for a smooth voice leading to the tonic as the harmony repeats.
We’ll look at this example in greater detail below in the section about secondary dominants.
While a key signature and mode provide a foundation of diatonic notes and chords, they aren't the only tools available to a composer or producer. By incorporating chromatic notes, we can expand the harmonic palette, creating deeper and more interesting chord progressions.
Chromatic notes serve as building blocks for constructing diminished, augmented, and various major or minor chords. Additionally, modulating to the relative minor key is a powerful technique for expanding a song's harmonic landscape. We'll delve into this next.
Every major key has a corresponding minor key, and vice versa. These key pairs share the same notes but differ in their tonal centers and chord functions.
The relative minor is found on the sixth scale degree, the submediant. In E Major, that’s C# minor.
In a minor scale, the relative major is found on the third scale degree, the mediant. In C# minor, that’s E major.
Modulating to C# minor opens up a new tonal world with seven distinct diatonic chord functions, all within the same key signature. For a deeper exploration of this key, check out the article "Learn the Chords in C# Minor".
The close relationship between E major and C# minor allows for exciting harmonic exploration. This subtle tonal shift can add depth and create distinct emotional tonalities for different sections of a song.
Modulating between relative keys is a common technique to prevent a song from becoming stagnant and keep it developing For example, transitioning to B minor can create a more melancholic moment, while returning to E major evokes a more uplifting and energetic mood.
A temporary shift to a different key or altering the qualities of diatonic are a powerful technique to add musical depth and harmonic interest. By highlighting specific moments without disrupting the overall tonal foundation, you can create dynamic movement in your music.
In the following section, we'll explore parallel chords and secondary dominants. These are two simple techniques that can add interest to simple chord progressions.
Parallel chords, created by altering the quality of a chord through accidentals, offer unexpected harmonic twists. For instance, raising the third of the mediant chord from B to C in a chord progression creates an G♯ major chord, which has a distinct emotional impact compared to the minor mediant.
Occasionally, temporarily using E minor as the tonic is a great way to add unexpected tonal qualities to your music, as well.
Remember to use parallel chords sparingly. Overusing them can cause your song to lose focus and disrupt the natural harmonic stability of the music. Use them strategically to emphasize certain moments and enhance the overall tonal richness of your song.
A secondary dominant is a chord borrowed from a different key signature. In essence, secondary dominants allow us to introduce a V-I resolution from an alternate tonal center, enriching the harmonic palette with depth and complexity.
One of the most common secondary dominants is the "dominant of the dominant" (V/V). In E Major, the (primary) dominant chord is B Major. The secondary dominant is the dominant of B Major, which is F# Major. The V/V is therefore F#.
By placing the V/V before the V chord, we create a V-I resolution from the key of E major, adding a layer of harmonic intrigue.
I (E) - V/V (F#) - V (B7) - I (E)
Let’s look at an example of a secondary dominant.
Here are the chords to the chorus to Adele’s “All I Ask” that uses the secondary dominant. This time, however, it’s the dominant of the supertonic (minor ii) so the chord is written like this “V/ii”. The supertonic is F#, and its dominant is C#, which is therefore the secondary dominant in this chord progression.
I (E) - V7/ii (C#7) - ii (F#m) - V (B) - I (E)
A fundamental understanding of music theory can significantly elevate your music. Music theory empowers you to write music with intention. By comprehending the relationships between chords and key signatures, you can craft more sophisticated and engaging chord progressions.
As you collaborate with Musiversal's musicians, you'll quickly appreciate the value of understanding the theory behind your music. This knowledge will empower you to effectively communicate your musical vision and guide their performance towards your desired outcome.
For example, including a V/V in your chord chart signals the intent of a secondary dominant. This can guide the musician to connect chords through specific voice leading techniques.
If you need a guiding hand in writing interesting chord progressions or adding harmonic depth, our pre-production and songwriting experts are ready to support you.
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