Fly Me To The Moon in A

Fly Me To The Moon in A

A version of Fly Me To The Moon: a cycle-of-fourths progression (vi-ii-V-I) that swings effortlessly. Bebop Major handles the major chords; Mixolydian adds bluesy color over the dominants. Changes: F#m7 – Bm7 – E7 – AMaj7 – DMaj7 – G#m7b5 – C#7b9 – F#7b9 – E9 – E7b9 – Amaj9 – F#m9 – Ddim7/c – G#m7 – C#7 – E7/f – C#m7b5 – Bm7/g – A6 – G9 – G6 – G#6 – A69.

Fly Me To The Moon in A

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 B (ascending perfect fourth), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to G# (ascending tritone), G# to C# (ascending perfect fourth), C# to F# (ascending perfect fourth), F# to E (descending whole step), E to E (ascending unison), E to A (ascending perfect fourth), A to F# (descending minor third), F# to D (descending major third), D to G# (ascending tritone), G# to C# (ascending perfect fourth), C# to E (ascending minor third), E to C# (descending minor third), C# to B (descending whole step), B to A (descending whole step), A to G (descending whole step), G to G (ascending unison), G to G# (ascending half step), G# to A (ascending half step). A half-step bass movement creates a strong leading-tone pull that demands resolution. The root motion by larger intervals (fourths and fifths) gives each chord change a strong, decisive character. When the progression loops, the bass returns from A to F# by minor third.

Scales for Improvisation

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.