Seven Progressions that Use Altered Chords

Download “The Essential Secrets of Songwriting” 6-ebook bundle, and discover the secret of getting chords to work.

An altered chord is simply one which doesn’t naturally occur in a given key. Altered chords add musical interest to a song by creating a small harmonic surprise. They work particularly well as accompaniment to melodies that are very predictable and simplistic. But simply throwing chords around that don’t naturally occur in your song’s key can create harmonic chaos. I’ve listed seven progressions below that use altered chords in a way that pull the listener’s ear in a different direction while keeping the original key intact.

All of the examples below are in the key of A major. In each example, the altered chord has been underlined. First, here’s the list. Under that, you’ll see a short description of how each altered chord works:

  1. A  Dm E7  A (“Borrowed Chord”, or “Modal Mixture”)
  2. A  D  B7 E7  A (Secondary Dominant Chord)
  3. A  C D  E  A (The Flat-III Chord)
  4. A  E  F  G A (Flat-VI – Flat-VII)
  5. A  F#m  F7 E  A (The “Augmented 6th” Chord)
  6. A  D  Eb13 A (The Flat-13 Chord)
  7. A D Bb7 A (The Tritone Substitution)

1) A  Dm E7  A (“Borrowed Chord”, or “Modal Mixture”)
This kind of altered chord borrows an accidental from the minor version of the key. This progression is in A major, but the Dm chord comes from the key of A minor. Modal mixtures are a great way of adding an interesting colour to your progression while leaving your key choice undisturbed.

2) A  D  B7 E7  A (Secondary Dominant Chord)
A secondary dominant chord makes a note other than the real tonic chord sound, briefly, like a new tonic chord. In the key of A major, a chord based on B would normally be a minor chord. But by making it major, it now sounds like a dominant chord of E. Adding the 7th strengthens that dominant function.

3) A  C D  E  A (The Flat-III Chord)
A flat-III darkens the harmonic flavour of a progression and provides a nice edge. Flat-II chords move smoothly to IV-chords as in the example given, but can also move to flat-VI chords that then move to V.

4) A  E  F  G A (Flat-VI – Vlat-VII)
It makes for an interesting cadence (phrase ending) to insert a flat-VI and flat-VII into the standard V-I cadence. The parallel movement of the tones of these chords also add a starkness to the sound which can work in high-energy songs.

5) A  F#m  F7 E  A (The “Augmented 6th” Chord)
The augmented 6th chord is based on the flat-6th degree of a scale. In our given key of A major, the flat-6th note is F (instead of the normally-found F#). Simply play that note as a root, build a triad and add a minor 7th. Then allow the chord to resolve to the triad a semitone lower (E).

6) A  D  Eb13 A (The Flat-13 Chord)
Jazz makes use of many altered chords, and they are particularly useful at cadences. The flat-13 is one of a host of altered chords, and it’s worth getting a book of jazz chords if these kind of harmonies interest you. Flat-13 chords are created by counting up 13 notes from the root of the dominant (V) chord, and lowering it a semitone.

7) A D Bb7 A (The Tritone Substitution)
Normally, an E7 chord provides our smoothest transition back to the A chord. But we can substitute that E7 with a Bb7. It works primarily because both E7 and Bb7 use the same tritone in their tone set: G# and D. (In the case of a Bb7, the Ab is equivalent to G#). To create a tritone substitution, replace any dominant-7th chord with a chord that’s one semitone higher than the tonic.


Written by Gary Ewer, from “The Essential Secrets of Songwriting” website
Follow Gary on Twitter

“The Essential Secrets of Songwriting” 6 e-book Bundle“The Essential Secrets of Songwriting” 6 e-book bundle will show you how to write great songs, harmonize your melodies, and give you hundreds of chord progressions in the process.

PURCHASE and DOWNLOAD the e-books for  your laptop/desktop


Posted in Chord Progressions and tagged , , , , , , , .


    • This is one of the greatest gold mines I have ever stumbled upon ever since I started playing the piano. I’ve been looking for such knowledge.

      Thanks Gary for taking your time to share such knowledge. Can’t wait to practise!

  1. Hi, I can’t say how thankful I am for your articles on Chord progressions. I started learning the piano from progressions as most of our church music is mostly done using the I-IV-V and I-V-IV progressions. After learning a bit about music theory I understood how to form various chords but using the more “complex” ones has always been a challenge until I get across this site I googled on the use of augmented and diminished chords. Your explanations dont only clarify music theory but are quite basic that even newbies can learn one or two things.

    • Hi David:

      I usually don’t give guitar or piano notes, as there are many sites that offer chord charts. My articles usually deal with the theory behind how chords move, and not so much how to play the chords. I’m assuming you’re a pianist, as you mentioned wanting to know the notes that the right hand and left hand are playing. You may find this site helpful: <>


Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.