La Descending Minor Cliché
vi – viM7 – vi7 – II progression in La major
La Descending Minor Cliché — vi – viM7 – vi7 – II
The A Descending Minor Cliché (F#m – F#m – F#m – B) is a voice-leading movement through the vi chord — from minor to minMaj7 to minor7 — using chromatic inner-voice motion derived from Melodic Minor and Harmonic Minor scales. The Minor #7m Pentatonic and Minor Six Pentatonic scales map directly onto the resulting chord tones. This sophisticated technique is central to jazz standards and classic orchestral pop. With seventh voicings (F#m7 – F#mM7 – F#m7 – B7), the chromatic descent is fully realized.
Playing in La major
A major is a rock and blues cornerstone. The open A string delivers a strong root, while both E strings ring as the fifth. Classic A-D-E progressions practically play themselves with open cowboy chords. The open high E is the fifth, reinforcing power. A is a beginner-level key on guitar because the open A string is the root and the open E strings provide the fifth above and below, creating a massive low-end anchor. Beginners will find this key approachable since most chords use open voicings with minimal stretching.
Voice Leading
The bass line moves through F# to F# (ascending unison), F# to F# (ascending unison), F# to B (ascending perfect fourth). The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from B to F# by perfect fourth.
Capo Transposition
To play in A using familiar open chords: capo 2 with open G shapes; capo 5 with open E shapes; capo 7 with open D shapes. Choose the capo position that gives you the voicings you prefer — lower capo positions produce a fuller sound, while higher positions create a brighter, mandolin-like timbre.
Scales for Soloing
A major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, A Mixolydian adds the flat seventh for an authentic blues-rock edge.
Strumming Pattern
Use D-DU-UDU at 100-120 BPM for a standard pop strum. Accent beats 2 and 4 for a backbeat feel. Vary dynamics between verse (lighter) and chorus (stronger) to build energy.