Passing chord

In music, a passing chord is a chord that connects, or passes

between, the notes of two diatonic chords.[3] "Any chord that
moves between one diatonic chord and another one nearby
may be loosely termed a passing chord. A diatonic passing
chord may be inserted into a pre-existing progression that
moves by a major or minor third in order to create more
movement."[4] "'Inbetween chords' that help you get from one Passing chord in B♭ from across the
chord to another are called passing chords."[5] circle of fifths (tritone, see also tritone
substitution): B♮7 Play .[1]
For example, in the simple chord progression in the key of C
Major, which goes from I7/iii7/ii7/V7:[4]

|Cmaj7 |Em7 |Dm7 |G7 |

the diatonic (this means "from the scale of the tonic") passing
chord (Dm7) may be inserted:

|Cmaj7 Dm7 |Em7 |Dm7 |G7 |

or the chromatic passing chord (Ebm7) may be inserted:

|Cmaj7 |Em7 Ebm7 |Dm7 |G7 |

The circle of fifths drawn within the
chromatic circle as a star
or one or more secondary dominants may be inserted: dodecagon.[2]

|Cmaj7 B7 |Em7 A7 |Dm7 |G7 | (in this example, the B7

is the secondary dominant of Em7 and the A7 is the secondary
dominant of Dm7)

A chromatic passing chord is, "a chord that is not in the harmonized scale"[6] For example, one
or more diminished seventh chords may be inserted:

|Cmaj7 D# dim7' |Em7 C# dim7 |Dm7 |G7 | (in this example, the D# dim7 is the viio7 of Em7
and the C# dim7 is the viio7 of Dm7)

Passing chords may be consonant or dissonant[7] and may include flat fifth substitution, scalewise
substitution, dominant minor substitution, approach chords, and bass-line-directed
substitution.[5] Passing chords may be written into a lead sheet by a composer, songwriter, or
arranger.

As well, particularly in smaller ensembles, such as the organ trio or jazz quartet, the "comping"
(chord-playing) rhythm section instrumentalists (e.g., jazz guitar, jazz piano, Hammond organ)
may improvise passing chords. With large ensembles, such as a big band, the comping players may
have less freedom to improvise passing chords, because the composer/arranger may have already
written in passing chords into the written horn parts, which might clash with improvised passing
chords played by a comping musician. The freedom of comping musicians to improvise passing
chords also depends on the tempo. In a very slow ballad, if a chord-playing musician adds in an
improvised diminished chord for a half a bar, this may "clash" with the melody notes or chords
played by other performers. On the other hand, in an extremely up-tempo (fast) Bebop tune, a
comping musician could add improvised passing chords with more freedom, because each bar goes
by so fast.

See also
Nonchord tone
Turnaround (music)
Blues turnaround

Further reading
R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc.,
ASIN: B008FRWNIW

Sources
1. Shanaphy and Knowlton (1990). The Do It Yourself Handbook for Keyboard Playing, p.68.
ISBN 0-943748-00-3.
2. McCartin, Brian J. (1998). "Prelude to Musical Geometry", p. 364. The College Mathematics
Journal 29, no. 5 (November): 354–70. (abstract) (JSTOR).
3. Wyatt and Schroeder (2002). Hal Leonard Pocket Music Theory: A Comprehensive and
Convenient Source for All Musicians, p.144. ISBN 0-634-04771-X.
4. Rawlins and Bahha (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians,
p.104. ISBN 0-634-08678-2.
5. Sokolow, Fred (2002). Jazzing It Up, p.9. ISBN 0-7935-9112-0.
6. Berle, Arnie (1995). Understanding Chord Progressions for Guitar: Compact Music Guides
Series, p.34. ISBN 0-8256-1488-0.
7. Alfred White, William (1911). Harmony and Ear-Training, p.158. Silver, Burdett & Company.

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