enter image description here ( Picture 1 )

enter image description here ( Picture 2 )

I already solved the question mark on Gm in picture 1.

What I want to know is after the last measure on picture 1 (C/E,C7)

How could you go to A7 from C7 ??

I heard it's a deceptive cadence

but how does it work ???

2 Answers 2


you can't analyze a song by chords,you must use the scales analysis,heearing with ears and use your brain to analyze the chords is the better way than using the theory because you need a strong platform of music understanding.

  • Thanks for your answer!!but why can't I analyze songs by chords??what does that mean??and how do you use scales to analyze them??and what do you mean by using my ear and brain?? Commented Feb 26, 2018 at 7:03
  • i mean the chord name does not make many sense,you need just know about the scale of the chords so you can easily play those chords in at every instrument.about the analyze,no one can teach you,it is about your own ability and tallent as well as the composing job
    – Lan...
    Commented Feb 26, 2018 at 8:57
  • You accepted THAT answer? !!!
    – Laurence
    Commented Feb 27, 2018 at 13:56
  • Laurence Payne because I'm more professional than you,i'm learning in a music academy.
    – Lan...
    Commented Feb 27, 2018 at 16:31
  • Fair enough. It's almost 45 years since I graduated from London's Royal Academy of Music. And I've learnt nothing since :-)
    – Laurence
    Commented Feb 27, 2018 at 16:54

It works in this case because there are strong melodic lines in both the melody and bass leading to A.

And because the Bb, part of the tritone which gives C7 its tension, still resolves down to A. Letting ONE element of a tension resolve 'correctly' but doing something surprising with the other notes is a basic method of writing interesting harmony! This isn't really a cadence point, but yes, there are similarities with a 'deceptive cadence' (or 'interrupted cadence' in Brit-speak).

And, on a broader scale, the piece started in C, made an excursion to F and now looks like it's heading back home to C (though who knows what may be around the next corner which you haven't shown us!) Are we heading for a ii, V, I in C major? It's very common to set this sort of thing up with a 'V of ii'. Even when the music only strays as far as the subdominant, a 'cycle of fifths' sequence is a good way of re-establishing the tonic.

  • Thanks for your answer ! So your saying it works because of the Bb to A movement in the bass? but if thats the key then does it mean it could go to any other chords that includes the A note ? Commented Feb 25, 2018 at 15:50
  • To be honest, it could go to all sorts of chords, and we could find a way to justify any of them! Theory doesn't tell us what we MAY do, it describes what we HAVE done. The voice-leading, and the fact that A7, Dm, G7, C is a standard route 'home' to C major, are factors that make A7 a colourful but not shocking choice. We could have gone to Ab major...
    – Laurence
    Commented Feb 25, 2018 at 15:58
  • Oh I see ! Thanks for taking your time to answer my question !! It helped me out ! Really appreciated ! Commented Feb 25, 2018 at 16:15

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