A deep understanding of how chords, intervals, and chord progressions function in different keys is essential for composing music with intention. By mastering the musical elements inherent to a specific key signature, you can elevate your compositions to new heights of melodic and harmonic complexity.
In this article, we'll delve into F# minor. We'll look at the harmonic roles of individual chords, examine common cadences for musical punctuation and statements, and explore common and interesting chord progression within this key by well-known artists.
Additionally, we'll discuss techniques to add depth and interest to your F# minor chord progressions, such as the use of modal interchange and secondary dominants.
There are three main types of minor scales: natural, harmonic, and melodic. Unless stated differently, the term "minor key" generally refers to the natural minor scale. This is the scale we'll focus on in this article.
The F# natural minor scale is composed of these notes:
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Each note's position within the scale, known as its scale degree, indicates its relationship to the tonic (root) note of the key.
Each scale degree can be used to build a diatonic chord, and each chord plays a specific role within the key. A simplified way to understand chord function is to consider the degree of tension or resolution it creates in relation to the tonic.
Roman numerals are used to indicate the scale degree, harmonic function and the quality of the chord (i.e. major or minor). Uppercase Roman numerals indicate major chords, while lowercase indicate minor chords.
Diatonic notes are those that naturally occur within a scale, following the specific interval pattern of a minor scale. Chromatic notes, while not part of the natural scale, can be introduced to add melodic and harmonic richness.
A common practice in minor scales is to raise the seventh scale degree by a half-step. For instance, in F# minor, this means raising E to F natural. This alteration results in a major dominant chord, rather than a minor one.
This chromatic alteration creates a leading tone, which is only a half-step away from the tonic. This generates a stronger pull towards the tonic, making the resolution more definitive compared to the subtonic.
These altered notes, called accidentals, are denoted by sharps (♯), flats (♭), or naturals (♮) to indicate their deviation from the natural scale.
F# minor serves as the tonal center of the key, providing a sense of stability, resolution, and familiarity. A musical progression that begins and ends on the tonic chord creates a natural and satisfying sense of closure. This foundation of home and resolution is essential to musical structure.
The instability and tension in the minor ii chord makes it a good pre-dominant chord which leads to the dominant chord. It also tends to be used to pivot into a different key signature or mode or to add specific colors to a F# chord progression.
One of the most common usages is also the chromatic movements. The diminished quality allows for smooth chromatic movement between chords, making it a versatile tool for creating interesting melodic lines and harmonic progressions.
The mediant chord brings a brighter, more optimistic quality to a chord progression. As F major shares two notes with D minor, the transition between the two chords is especially smooth.
In a minor key, the mediant chord serves as the tonic chord of the relative major key. This means that the third scale degree of a minor key is also the first scale degree of the related major key. We'll explore relative keys in more detail later.
The subdominant chord introduces a sense of anticipation and harmonic contrast to the tonic chord. Its versatility allows for a variety of chord progressions. Progressing to the dominant chord builds tension, while resolving to the tonic provides satisfaction. Moving to the submediant adds depth and stability within the same key, offering a major chord quality.
After the tonic, the dominant chord is the most important chord in the key signature. The dominant chord is the most unstable chord within a key, characterized by a strong sense of tension and a compelling drive toward resolution, often to the tonic chord.
The submediant chord can function as a deceptive cadence, as it shares two notes with the tonic chord. This can provide a less definitive conclusion to a musical phrase, creating a sense of ambiguity or surprise.
It's often used as a pre-pre-dominant chord, leading to a chord with a subdominant function, such as the ii or iv chord. This creates a more gradual progression towards the dominant and ultimately the tonic.
The subtonic chord is a versatile harmonic tool, often functioning as a pre-dominant chord. While it doesn't possess the same strong, direct pull towards the tonic as the dominant chord, it plays a crucial role in building tension and anticipation.
It can lead smoothly to the dominant chord, creating chromatic progressions and adding color and texture to harmonic progressions. By understanding its unique function, you can create more sophisticated and interesting chord progressions in your music.
Chords can be categorized into two types: primary and secondary. Primary chords form the foundation of a key's harmonic structure, while secondary chords offer additional harmonic color and depth.
The primary chords in a key are the I, IV and V. The secondary chords are the ii°, III, VI and VII and they expand the harmonic possibilities within F# minor key signature.
To gain a deeper understanding of chord relationships and their sonic impact, experiment with various chord combinations. Begin with the tonic and explore the harmonies of every interval to both primary and secondary chords.
This will help you recognize the unique sound and function of each chord within a harmonic context. Experimenting with chord inversions can further refine your understanding, as inversions can improve voice leading and create smoother chord transitions.
A solid grasp of scale patterns and intervals is crucial for writing well-structured melodies and harmonies. By understanding the placement of half-steps and whole-steps, you can craft more emotionally resonant chord progressions and improve voice leading by minimizing large leaps between notes during chord transitions.
A cadence is a sequence of chords that marks the end of a musical phrase. Different cadences convey varying degrees of closure and resolution. Cadences serve as musical punctuation, shaping the emotional impact of a song.
A strong cadence can emphasize a musical statement or create a sense of finality, while a weaker cadence can leave the listener intrigued or unsettled. By strategically employing different cadences throughout a piece, you can enhance its emotional depth. Reserving the most powerful cadences for pivotal moments can maximize their impact.
Here we’ll look at a few of the most common cadences in F# minor.
Dominant → Tonic (V - i) C# → F#m
The perfect cadence is the most definitive and satisfying cadence, providing a strong sense of resolution.
By using a dominant seventh chord, we can further intensify this resolution, as the leading tone within the chord creates an even stronger gravitational pull towards the tonic.
C#7 → F#m (V7 - i)
Both chords must be in root position for a perfect cadence. Some argue that the top voice of the final chord should also be the root note to further emphasize the tonal resolution.
Subdominant → Tonic (iv - i) Bm → F#m
The plagal cadence provides a softer, more subdued resolution compared to the definitive conclusion of a perfect cadence. It's often referred to as the "Amen cadence" due to its frequent use in traditional hymns.
Tonic, or Supertonic, or Subdominant → Dominant: (i / ii / iv → V) F# → C#
G°# → C#
Bm → C#
The half cadence resolves to the dominant chord which lacks the definitive sense of closure provided by the tonic. This can be effective in building tension towards a powerful chorus or other significant musical moments in your music.
Major Dominant to Submediant (V - VI) C# → D
The interrupted cadence might appear to be heading towards a strong resolution, such as the perfect or plagal cadence, but ultimately ends up going to the VI chord instead of the I. This surprising turn disrupts the listener's expectations, creating a sense of intrigue and adding dynamic tension to the harmonic progression.
Dominant 7th to Major tonic (V7 – I) C#7 → F#
A technique for achieving a more uplifting conclusion in a minor key piece is to raise the third scale degree of the tonic chord in the final cadence. This is known as the Picardy third and allows for a resolution in the parallel major key, offering a brighter and more optimistic ending.
In this section, we'll explore some interesting chord progressions in F# minor. We’ll pay attention to the strategic use of chords like the mediant and submediant as substitutes for the tonic chord, as well as the specific cadences employed.
It's important to note that not every two-chord sequence at the end of a phrase constitutes a cadence. A cadence is a specific musical device used to punctuate the end of a phrase.
Now, let's explore some common F# minor chord progressions.
This progression is particularly intriguing due to its strategic use of the mediant and submediant chords. These chords, closely related to the tonic, maintain a sense of harmonic stability.
The harmonic tension comes from the dominant chord. However, the use of the minor dominant lessens the overall tension, and creates a more subdued and introspective mood. This chord progression offers stability and subtle dissonance.
“Unstoppable” by Sia uses this exact chord progression.
A prime example of the mediant's ability to brighten a minor key progression can be found in the chorus of the Backstreet Boys' “I Want It That Way”.' The progression initially establishes a foundation with a VI - VI I - i sequence, before shifting to a VI - VII - III chord progression.
The major mediant chord functions as a temporary tonic substitute, injecting a burst of major tonality into the otherwise minor key. This strategic use of the mediant offers a bright and uplifting contrast, while still maintaining the overall F# minor tonality.
The absence of a dominant chord prevents a definitive resolution, keeping the music in a continuous state of motion. We can hear this in Europe's classic "The Final Countdown."
The song's energy shifts when the main melodic and harmonic section concludes with the chord progression i - VII - III - VI - v - V. The introduction of the dominant chord (V) builds tension that is ultimately resolved as the next section of the song begins.
The chord progression in Madison Beer's “Make You Mine” is performed in a descending motion. The tonic chord descends stepwise to the subtonic (VII), then continues its descent to the submediant, and finally reaches the dominant (V). The progression then leaps upward back to the tonic, creating a sense of resolution and completion.
We hear this exact chord progression in Avicii's “Waiting For Love” What makes this particular example interesting is that it can be subdivided into two separate progressions: i-V-VI and VI-VII-i.
The submediant chord serves as a bridge between the two progressions, seamlessly transitioning from completing the first few bars to being the first chord in the next measures.
The final chord of the second part also becomes the first chord as the entire chord progression repeats.
This chord progression in Sting’s “Shape of My Heart” does a few interesting things. The dominant chord is played three times in the first bar, but each iteration is distinct. It begins with a standard dominant chord, transitions to a dominant sus2 chord, and then resolves to a major dominant chord.
Rather than repeating the exact chord progression, the song introduces the submediant chord as a tonic substitute. The chords are: VI-v-iv-v-V, which injecting a burst of energy and harmonic variation.
This short but powerful chord progression, featured in the chorus of Olivia Rodrigo's "Good 4 U" is highly energetic. Starting a chord progression on the subdominant creates immediate anticipation, setting a dynamic tone from the outset.
The progression then resolves to the tonic chord, establishing a sense of stability. Finally, it shifts to the dominant chord, building tension and driving the music forward.
While a song's key and its corresponding scale are related, they are strictly speaking the exact same thing. A song in F# minor is not limited to using only diatonic chords. While these chords offer a great and stable harmonic foundation there are numerous other harmonic possibilities.
For example, the major dominant chord in a minor key, though not diatonic, can be highly effective.
Altering notes through accidentals is a powerful technique for adding interest and harmonic depth. This allows for the creation of augmented and diminished chords, as well as changes in chord quality.
Another effective technique for enhancing musical interest is the use of relative keys, which we'll explore next.
Every key signature has a corresponding scale of the opposite quality. These two keys share the same notes but have different tonic notes and tonal centers.
In a minor scale, the relative major key is found on the third scale degree, the mediant. In F# minor that’s A.
In a major scale, the relative minor key is found on the sixth scale degree, the submediant. In A major that relative minor is F# minor.
Shifting the tonic chord alters the harmonic function and role of each chord within the key. For more information about the parallel key of F# minor, read the article "Learn the Chords in A Major"
Given their close relationship, modulating between a minor key and its relative major key can add harmonic variety and interest while maintaining a similar tonal center. Different keys can be used to emphasize the distinction between sections of a song.
A song in F# minor can modulate to A major to introduce a more energetic and uplifting tone. At the same time, transitioning to the relative minor key can create a somber and introspective atmosphere.
Temporarily moving away from diatonic chords can be a powerful tool for adding harmonic interest and depth. By understanding the principles of diatonic and chromatic notes and chords, you can expand your musical palette and create richer harmonic landscapes.
A parallel chord is created by changing the quality of a chord (major to minor or vice versa) while maintaining the same root note. For example, in the key of F# Minor you can use a major subdominant chord instead of the diatonic minor for a fresh harmonic element.
This technique can be used to emphasize specific sections of a song or to break up repetitive patterns.
A secondary dominant is a borrowed chord that temporarily shifts the harmonic center of a song without requiring a key change. It functions as a dominant chord from a different key, creating a V-I progression from this borrowed key. This technique adds harmonic complexity and generates a sense of tension and resolution.
Dominant chords are built on the fifth scale degree. The most common secondary dominant chord is based on the dominant chord of the primary key. In F# minor, the dominant chord is C# major. The secondary dominant would be G# major, the dominant of C#. This is referred to as "V/V," the dominant of the dominant.
Example:
Let’s take a simple i - V - i progression and see how a secondary dominant adds interest and harmonic depth. By adding a V/V before the primary dominant we get a V - I progression from the key of C# major (G# - C#).
i - V/V - V - I
F#m - G# - C# - F#
By understanding the fundamental principles of music theory, such as the relationships between notes, chords, and key signatures, you can significantly enhance your songwriting and composition skills. This knowledge empowers you to craft more engaging and sophisticated chord progressions.
Even a basic understanding of music theory can improve the communication with session musicians. At Musiversal you get Unlimited live recording sessions where you can provide feedback in real time.
When you understand the theory behind your music you can quickly make adjustments in real time by clearly communicating your vision with artists. It can be a matter of ending on a major chord, testing a secondary dominant instead of a diatonic chord for added complexity, etc.
If you need help with chord progressions, harmony, or songwriting, our pre-production and songwriting experts are here to help you. With the Unlimited subscription, you gain access to 75+ top-tier session musicians but also experienced songwriters and producers who you can collaborate with and write exceptional music.
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