This document lists possible chord types that can be used in diatonic and modal jazz composition and theory. It provides the chord symbol, name and modal sources for possible I, II, III, IV, V, VI, and VII chords. Additional secondary dominant chords and their related II chords are also listed as options. The chart serves as a reference for composers to understand what chord types are compatible with different musical modes and can be substituted within a given key or modal framework.
This document lists possible chord types that can be used in diatonic and modal jazz composition and theory. It provides the chord symbol, name and modal sources for possible I, II, III, IV, V, VI, and VII chords. Additional secondary dominant chords and their related II chords are also listed as options. The chart serves as a reference for composers to understand what chord types are compatible with different musical modes and can be substituted within a given key or modal framework.
This document lists possible chord types that can be used in diatonic and modal jazz composition and theory. It provides the chord symbol, name and modal sources for possible I, II, III, IV, V, VI, and VII chords. Additional secondary dominant chords and their related II chords are also listed as options. The chart serves as a reference for composers to understand what chord types are compatible with different musical modes and can be substituted within a given key or modal framework.
M I Maj7 Ionian, Lydian I6 Ionian, Lydian I-7 Aeolian, Dorian, Phrygian I-6 Melodic Minor, Dorian I-(maj7) Harmonic Minor, Melodic Minor I 7 or I 7(sus4) Mixolydian, Blues,
Possible II Chords: Modal Sources:
II-7 I onian, Dorian, Mixolydian, Melodic Minor II-7(b5) Aeolian, Harmonic Minor bII Maj7 Phrygian (Also a subdominant minor chord) II 7 Lydian (Special function dominant)
Possible III Chords: odal Sources:
M III-7 Ionian, Lydian bIII Maj7 Dorian, Aeolian bIII Maj7 (#5) armonic Minor, Melodic Minor H bIII 7 Phrygian III-7(b5) Mixolydian
Possible IV Chords: odal Sources:
M IV Maj7 Ionian, Mixolydian IV7 Melodic Minor, Dorian, Blues IV-7 Aeolian, Phrygian, Harmonic Minor #IV-7 (b5) Lydian
Possible V Chords: odal Sources:
M V7 Ionian, Melodic Minor V7 (b9) Harmonic Minor V-7 Dorian, Mixolydian, Aeolian V-7(b5) Phrygian V Maj7 Lydian
Possible VI Chords: Modal Sources:
VI-7 I onian, Lydian, Mixolydian VI-7(b5) Dorian, Melodic Minor bVI Maj7 Phrygian, Aeolian, Harmonic Minor bVI7 * Special Function Dominant, usually analyzed as subV7/V but sometimes resolves directly to I of the key th th *Derived from Locrian or Italian 6 of 19 century harmony.
Possible VII Chords: Modal Sources:
VII-7 (b5) Ionian, Melodic Minor bVII Maj7 Dorian, Mixolydian bVII-7 Phrygian VII-7 Lydian bVII7 Aeolian VIIo7 Harmonic Minor
In addition we have the following secondary dominants and their related II chords: V7/II V7/III V7/IV V7/V V7/VI V7/bII V7/bIII V7/bVI