Session 8: The A Chord Family

Duration: 50 minutes

Today you learn the A major chord and combine it with D and E to play the most important chord progression in popular music: the I-IV-V (one-four-five). This three-chord pattern is the backbone of rock, blues, country, and pop. You will also get your first introduction to the 12-bar blues — a structure that has driven music from Robert Johnson to Led Zeppelin. By the end of this session, you will play a full 12-bar blues in the key of A.

Learning Objectives

By the end of this session you will be able to:

1. Play the A major chord cleanly with strings 1–5 ringing
2. Transition smoothly between A, D, and E at 65 BPM
3. Understand the 12-bar blues structure (I-IV-V pattern)
4. Play a complete 12-bar blues in A using A, D, and E
5. Use a steady strumming pattern throughout a 12-bar form

Materials Needed

• Your Saga SF-600C-BK guitar
• A guitar pick
• A clip-on tuner or phone tuner app
• A metronome
• Reference: Understanding Chords

---

Segment 1 — Warm-Up and Stretch (5 minutes)

Finger Stretches

1. Finger spread — 3 times, hold 5 seconds each.
2. Wrist circles — 5 each direction per wrist.
3. Finger touch — 5 times per hand.

Tune Your Guitar

Tune all six strings (EADGBE).

Warm-Up

Play “Scarborough Fair” verse (Session 7) at 70 BPM in 3/4 time — 16 measures. This reviews the D chord, Am, and waltz time. Then switch to 4/4 and play Em → Am → E → D (one measure each, D/U pattern) at 65 BPM for 8 measures. This activates all your chords.

---

Segment 2 — Technique Focus: Three-Chord Transitions in 4/4 (10 minutes)

The A-D-E Triangle

A, D, and E are the three most common chords in the key of A major. You already know D (Session 7) and E (Session 5). After learning A today, you will have all three.

These chords appear together in hundreds of songs. Your ability to transition cleanly between them is one of the most valuable skills you can develop.

Transition Warm-Up (Pre-Learning A)

Before learning the A chord, make sure your D and E transitions are clean:

E → D transition:

• From E: Finger 1 is on string 3 fret 1, finger 2 on string 5 fret 2, finger 3 on string 4 fret 2
• To D: Finger 1 moves to string 3 fret 2 (shifts up one fret on the same string), finger 2 jumps to string 1 fret 2, finger 3 jumps to string 2 fret 3
• This is a big move — all three fingers change position

D → E transition: Reverse the above.

Drill: E → D → E → D, one strum per chord, no metronome. Focus on lifting all fingers together and landing all together. 10 clean transitions.

---

Segment 3 — New Learning: The A Major Chord and 12-Bar Blues (15 minutes)

The A Major Chord

A major is a bright, punchy chord. Three fingers squeeze together on fret 2, all on adjacent strings.

Chord Diagram:

A

XOO

1

2

3

EADGBe

Step-by-step:

1. Place your index finger (1) on string 4 (D string), fret 2.
2. Place your middle finger (2) on string 3 (G string), fret 2.
3. Place your ring finger (3) on string 2 (B string), fret 2.
4. All three fingers are on fret 2, on adjacent strings — they are packed tightly together.
5. String 5 (A) and string 1 (high E) are open.
6. Do NOT play string 6 (low E). Start your strum from string 5.

Sound check: Pluck each string:

• String 6 (E): Do not play
• String 5 (A): Open — clear
• String 4 (D): Fret 2 — clear (finger 1)
• String 3 (G): Fret 2 — clear (finger 2)
• String 2 (B): Fret 2 — clear (finger 3)
• String 1 (E): Open — clear

The challenge with A: Three fingers squeezed onto the same fret. Your fingertips must be precisely positioned so they do not touch neighbouring strings. Curl each finger so you press with the very tip. If your fingers are flat, they will mute the adjacent strings.

Practice tip: If your fingers are too wide to fit comfortably on fret 2, try this alternative fingering: use fingers 2, 3, and 4 (middle, ring, pinky) instead of 1, 2, 3. Some players find this leaves more room. Use whichever fingering gives you the cleanest sound.

Key Transitions with A

A → D:

• Finger 1 stays on fret 2 but moves from string 4 to string 3
• Finger 2 jumps from string 3 fret 2 to string 1 fret 2
• Finger 3 moves from string 2 fret 2 to string 2 fret 3 (same string, one fret up)

A → E:

• This is a big move but has a useful pattern: the A shape and E shape are mirrors
• From A: Lift all fingers. Finger 1 to string 3 fret 1, finger 2 to string 5 fret 2, finger 3 to string 4 fret 2
• Practice: A (strum) → E (strum) → A (strum) → E (strum), 10 times

Drill all three: A → D → E → A, one strum per chord, 10 cycles.

The 12-Bar Blues

The 12-bar blues is a 12-measure chord pattern that repeats. It is one of the oldest and most important structures in Western music. Blues, rock, jazz, and pop all use it.

In the key of A, the 12-bar blues uses three chords:

Number	Name	Chord
I (one)	Tonic	A
IV (four)	Subdominant	D
V (five)	Dominant	E

The 12-bar pattern:

| A  | A  | A  | A  |
| D  | D  | A  | A  |
| E  | D  | A  | E  |

Each box is one measure (4 beats in 4/4 time). The pattern always follows this structure:

• Measures 1–4: I chord (A)
• Measures 5–6: IV chord (D)
• Measures 7–8: Back to I chord (A)
• Measure 9: V chord (E)
• Measure 10: IV chord (D)
• Measures 11–12: I chord (A), with V chord (E) on the last measure to “turn around” back to the beginning

The last measure (E) is called the turnaround — it creates tension that pulls you back to the start.

---

Segment 4 — Song Workshop: “12-Bar in A” (15 minutes)

“12-Bar in A” — Original Blues Exercise

Tempo: 75 BPM Time signature: 4/4 Strumming pattern: D D U U D U (the pattern you learned in Session 5)

Complete Transcription

Measure 1-4 (A):

Strum: D D U U D U | D D U U D U |

Count: 1 2 & 3 4 & | 1 2 & 3 4 & |

Chord: A A

 

Strum: D D U U D U | D D U U D U |

Count: 1 2 & 3 4 & | 1 2 & 3 4 & |

Chord: A A

 

Measure 5-6 (D):

Strum: D D U U D U | D D U U D U |

Count: 1 2 & 3 4 & | 1 2 & 3 4 & |

Chord: D D

 

Measure 7-8 (A):

Strum: D D U U D U | D D U U D U |

Count: 1 2 & 3 4 & | 1 2 & 3 4 & |

Chord: A A

 

Measure 9 (E):

Strum: D D U U D U |

Count: 1 2 & 3 4 & |

Chord: E

 

Measure 10 (D):

Strum: D D U U D U |

Count: 1 2 & 3 4 & |

Chord: D

 

Measure 11 (A):

Strum: D D U U D U |

Count: 1 2 & 3 4 & |

Chord: A

 

Measure 12 — Turnaround (E):

Strum: D D U U D U |

Count: 1 2 & 3 4 & |

Chord: E

After measure 12, go back to measure 1 and repeat.

How to Learn This

Step 1 — Chord map only: Play each chord as a single downstroke on beat 1 of each measure. No strumming pattern yet. Just practice hitting the right chord on the right measure. Play through the 12 bars 3 times.

Step 2 — Add strumming at 60 BPM: Now play the full D D U U D U pattern on each chord. Slow tempo lets you focus on chord changes. The hardest transitions:

• Measure 4 → 5 (A → D)
• Measure 6 → 7 (D → A)
• Measure 8 → 9 (A → E)
• Measure 9 → 10 (E → D)

Step 3 — Speed up to 75 BPM: Once clean at 60, increase gradually.

Step 4 — Loop it: Play the 12 bars 3 times in a row without stopping. The blues is meant to repeat — each pass through the 12 bars is called a “chorus.” Three choruses = 36 measures = a complete blues performance.

What it should sound like: Driving, rhythmic, and satisfying. The A chord feels like home. The D chord creates gentle tension. The E chord creates stronger tension that resolves back to A. This tension-and-release cycle is what makes the blues so compelling.

Performance Notes

• The turnaround (measure 12, E chord) should feel like a question: “Are we going again?” The return to A in measure 1 is the answer: “Yes.”
• Try making measure 9 (E) slightly louder — this is the climax of each 12-bar cycle
• Keep your strumming arm swinging even during chord changes — a silent beat is better than a late chord

---

Segment 5 — Review and Practice Plan (5 minutes)

What You Learned Today

• The A major chord (finger 1 string 4 fret 2, finger 2 string 3 fret 2, finger 3 string 2 fret 2)
• The A → D → E → A transition pattern
• 12-bar blues structure (I-IV-V in the key of A)
• Applied the D D U U D U strumming pattern to a blues form

Common Mistakes

1. Muting strings in the A chord — Three fingers on one fret is tight. Curl each finger so only the very tip touches the string. If string 1 (high E) sounds dead, your ring finger on string 2 is touching it.
2. Losing count of the 12 bars — The 12-bar form requires counting measures, not just beats. Say the measure number on beat 1: “ONE-two-and-three-four-and, TWO-two-and-three-four-and…” (where ONE, TWO, etc. are measure numbers).
3. Missing the turnaround — Measure 12 (E) is easy to forget. If you accidentally play A on measure 12, the loop will not feel right when it restarts.
4. Sloppy A → D transition — This is the hardest change in this session. Drill it in isolation: A (one strum) → D (one strum), 20 times.
5. Playing string 6 on A and D — Both chords start from string 5. If you keep hitting string 6, rest your thumb lightly on it to mute it.

Self-Check Questions

1. Can you play A major with all five strings (1–5) ringing clearly?
2. Can you play through the 12-bar blues form without losing track of which measure you are on?
3. Can you transition between A, D, and E in any order at 65 BPM (one chord per beat)?
4. Can you play three complete choruses (36 measures) of the “12-Bar in A” without stopping?

Practice Plan (Daily, 20–25 minutes)

Block	Time	Activity
Warm-Up	3 min	Finger stretches + tune
Chord Review	4 min	Em, Am, E, D, A — strum each 4 times with D/U pattern. Then cycle A → D → E → A, one strum per chord, 10 cycles
Transition Drill	4 min	Focus on the two hardest transitions: A → D and E → D. 20 clean changes each
12-Bar Blues	10 min	Play “12-Bar in A” at 70–75 BPM. Loop 3 choruses. Focus on counting measures
Scarborough Fair	3 min	Maintenance: play the verse once at 70 BPM in 3/4 time

Guitar Tip — Saga SF-600C-BK

When playing the A chord, all three fingers are packed onto fret 2. The Saga SF-600C-BK has a standard nut width (approximately 43 mm), which is average for a dreadnought. If your fingertips are broad, you may find the A chord cramped. Make sure your fingers approach the strings almost vertically — if they lean to one side, they take up more room and are more likely to mute neighbouring strings. Playing on the very tips of your fingers, with short, well-trimmed nails on your fretting hand, makes the A chord significantly easier.