Index

Chapter 1: Relative Multipolar Tonality (RMT)

1. Function
1. Tonal range covered by RMT
2. Key boundary ambiguity
3. Substitute Chords
4. Progress from substitute chords to regular chords
2. Use Relative Chords Intentionally
1. Include a change of major and minor sound
2. Use third progression like dominant - tonic
3. Expression of transience
3. Contrast in Major and Minor Sound
1. I-VI-II-V
2. Presenting the contrast
3. "Komuro Progression"
4. Bass Movement
1. Chords that are third intervals apart
2. Step progression in bass
3. Canon progression
5. Affinity with Pentatonic Scale
1. Mixture of major and minor triads
2. Pentatonic scale
3. Adding one of the common notes to determinate notes
4. Affinity with Japanese folk songs
5. Modern Japanese style
Chapter 2 Dominant Multipolar Tonality (DMT)
1. Function
1. Tonal range covered by DMT
2. Change in tonal tension
3. Sentence with a main key of S
4. Sentence with a main key of D
5. Using T tonic in S or D sections
2. DMT and RMT
1. Oudou Progression
2. Third interval progression
3. Affinity to Modes
 1. Review the first example from the perspective of mode
2. Lydian feeling
3. Mixolydian feeling
4. Dorian feeling
5. Phrygian feeling
6. Modes as the combination of two keys
7. Locrian mode
4. Using Two Tonal "Directions"
1. The simplest usage
2. Affinity with II-V-I
Chapter 3: Parallel Multipolar Tonality (PMT)
1. Function
1. Review of chord notation
2. Tonal range covered by PMT
2. Borrowing Chords
1. Borrowing from the parallel minor key
2. Borrowing from the parallel major key
3. Using Multipolar Tonality
1. Contrasting major and minor sounds
4. Inclination to African-American Music
1. What does "jazzy" mean?
5. How to Avoid Tilting to African-American Music
1. Give tonal function to borrowed chords
2. Reduce strong progress in bass
3. Avoid overuse of chromatic scales
4. The expression achieved by "subtracting"
5. Avoid collisions between the major and minor thirds
6. Cinematic Effect
1. Parallel progression with consistent chords
Japanese Music Harmony Vol. 2: —Key Fluctuation Used in J-POP,
Gaming, and Anime Music—
Chapter 1: Relative Multipolar Tonality (RMT)
Relative Multipolar Tonality (RMT) is a multipolar tonality found
between keys in a relative key relationship.
1. Function
By consciously using chords that are separated in thirds, generates
the fluctuation of major and minor sound using keys in relative key
relationship.

1. Tonal range covered by RMT

A major key and its relative minor key, and vice versa. Cmaj and
Amin are examples.

Fig. 1-1-1

2. Key boundary ambiguity

Relative major and minor keys share all sounds except in minor key,
with the exception of #vi and #vii. Thus, there is little sense of
incongruity, even if the key is switched in the middle of the section.
Listen to the following example.

Fig. 1-1-2(1)
Here is another example. I would like you to listen and compare the
first and second passages. Compared to the stable first passage, the
second passage may feel bubbly, similar to a “key syncopation.” If
you compare the two, you can see they are different, but otherwise
you will only feel them as the characteristic of the songs. In RMT, it
is permissible for the key to cross sections.
 Fig. 1-1-2(2)

3. Substitute Chords
The concept of substitute chords is very vague. III in major key is
interpreted as a tonic or dominant chord. There are no clear criteria
for interpretation. It is recommended to eliminate the vague concept
of substitute chords and interpret it as RMT. In the first place,
substitute chords are techniques for giving a fresh impression by
using chords with the same function as regular chords but belonging
to the relative key. This is RMT.

4. Progress from substitute chords to regular chords

As for the above example, you will not feel any sense of incongruity
despite the progression, from substitute chord VI to regular chord I,
at the boundary between the first and second passages. As described
in 2-6-2 in the first volume, if it can be interpreted as RMT, there is
no problem in proceeding from a substitute chord to a regular chord
at the section break.
2. Use Relative Chords Intentionally
1. Include a change of major and minor sound
The third interval progression shown below is the most obvious
feature of RMT. You may also find this in some folk music.
“Omoide” (or "Memories" composed by Tsuneyoshi Suzuki) used for
the opening song of the drama, “Shinya Shokudo,” emphasizes the
difference between the major and minor chords using this technique.

Fig. 1-2-1

2. Use third progression like dominant - tonic

The progression VI or III to I provides a milder resolution feeling
than V-I. As an aside, this cadence is also used in the middle part of
“Jupiter,” a melody reminiscent of folk songs, of the suite “Planet”
(composed by G. Horst).
 Fig. 1-2-2(1)
The minor dominant chord bass may be changed to progress third
for the tonic. This is a sound often used by Russian composers
(especially Tchaikovsky).

Fig. 1-2-2(2)

3. Expression of transience
Since the third progression is not as powerful as a dominant-tonic, it
can be used to express transience. Using this progression after a long
minor sound has the effect of popping up from the stagnation.
Although it is difficult to show with a short sample, like the example
below, if you are interested, this effect is obvious if you listen to the
ending part of "Gwyn, Load of Cinder" (composed by Motoi
Sakuraba), used in the game "Dark Souls."
Fig. 1-2-3
3. Contrast in Major and Minor Sound
1. I-VI-II-V
I-VI-II-V uses the charm of I-VI. In the example below, the first
passage uses I-VI-II-V, and the second passage was replaced with
substitute chords. As a result, the first passage is in relative major, the
second is in relative minor, and the key of the sentence fluctuates
between relative keys.

Fig. 1-3-1

2. Presenting the contrast

In the example below, the key changes from major to minor at the
beginning of the second passage. In order to emphasize major and
minor contrast in this way, it is better to make a clear switch at the
beginning of the second passage. In the case of "Tina's Theme"
(composed by Nobuo Uematsu), used in the game "Final Fantasy
VI," the A melody changes from Amin to Cmaj, and the B melody
changes from Cmaj to Amin. The keys are arranged symmetrically.
The composer is clearly trying to emphasize the contrast between the
major and minor sounds.
 Fig. 1-3-2

3. "Komuro Progression"
I-VI-VII7-III progression in a minor key is commonly called
"Komuro progression." This is a typical RMT. The sentence starts
with a minor key and is not clearly switched to the relative major key
at the beginning of the second motif. However, it becomes clear that
the key has been switched at the end of the second motif.

Fig. 1-3-3
4. Bass Movement
1. Chords that are third intervals apart
In the example below, please confirm that major and minor chords
alternate when separating the third interval from the root.

Fig. 1-4-1

2. Step progression in bass

If you move the bass from the tonic one note at a time, with one
chord for one measure, the major and minor chords alternate at the
beginning of the next motif. If the bass is made to progress like this, a
relative major key and its relative minor key are switched naturally
for each motif, showing the RMT feature. It is best to remember it as
a pattern.
 Fig. 1-4-2

3. Canon progression
In the canon progression, go down a third interval in the tonic-
dominant set. This also changes between a relative major key and its
relative minor key for each motif.
Fig. 1-4-3
5. Affinity with Pentatonic Scale
1. Mixture of major and minor triads
Instead of alternating major and minor chords, as in the previous
examples, try mixing them. In the example below, minor seventh
chords can be created by mixing tonics, subdominants, and dominant
chords. You can see that there are notes common to the major and
minor triads (common notes) and other notes.

Fig. 1-5-1(1)
Adding one of the other notes to the common notes restores the
original major and minor triads. Since these notes determine the
major or minor sound of the entire chord, they are called
"determinate notes." The determinate notes do not imply major or
minor but produces the key fluctuation between relative keys, when
combined with the common notes. Thus, determinate notes contain
the characteristics of RMT.
 Fig. 1-5-1(2)

2. Pentatonic scale
Collecting determinate notes for tonic, subdominant, and dominant
chords creates a pentatonic scale.

Fig. 1-5-2(1)
Determinate notes have an affinity for RMT, and since the
pentatonic scale is made of determinate notes, the pentatonic scale
also has an affinity for RMT. For example, if common notes
accompany a melody using a pentatonic scale, as shown in the
example below, an RMT section can be created. Let us hear that the
major and minor sounds change in every measure.

Fig. 1-5-2(2)

3. Adding one of the common notes to determinate notes

Next, let us add one of the common notes to the determinate notes.
 Fig. 1-5-3
The resulting chords sound more intermediate than the major and
minor triads, but it is easy to distinguish major or minor sounds by
playing in arpeggios. In the previous section, one of the determinate
notes was added to the common notes, so major and minor triads
were clearly separated. On the other hand, in this method, all
determinate notes remain in the resulting chords, so the characteristic
of RMT is maintained.

4. Affinity with Japanese folk songs

The chords explained above are universally found in the melody of
Japanese folk songs. Therefore, a Japanese folk song is essentially in
RMT. The broken line in the example below shows the part where
such a chord is used. I will explain in detail in the third volume,
about Japanese traditional music melodies and their harmony. For
now, I would like you to understand that I used the above chords as
they are.
 Fig. 1-5-4

5. Modern Japanese style

Many modern Japanese-style songs combine the aforementioned
chords and harmonies with Western music theory. Minor seventh and
major thirteenth chords are often used. This will be explained in
detail in the third volume, but the traditional Japanese melody is
based on the fourth interval, so you can decorate the melody with
fourth intervals (perfect and augmented fourth), as in the fifth
measure.
Fig. 1-5-5
Chapter 2 Dominant Multipolar Tonality (DMT)
Dominant Multipolar Tonality (DMT) is a multipolar tonality found
between keys that have a D and S key relationship. The key signature
covers one range on the sharp side and one range on the flat side.
1. Function
Tonal tension can be controlled. An example of tonal tension is
Gmaj being more tensioned than Cmaj, while Fmaj is more relaxed.

1. Tonal range covered by DMT

Using Cmaj as an example, the tonal range covered by DMT is
illustrated below. Cmaj and Amin are called T keys, Fmaj and Dmin
are called S keys, and Gmaj and Emin are called D keys. You can
move freely between these six keys. For example, you can move
directly from Gmaj to Dmin and from Emin to Fmaj without going
through other keys.

Fig. 2-1-1

2. Change in tonal tension

In the example below, do you feel that the dominant section (bars 5-
8) is more tensioned and the subdominant section (bars 9-12) is more
relaxed than the tonic section (bars 1-4 and bars 13-16)? This is
because they fluctuate to Gmaj (D key) and Fmaj (S key),
respectively. Ignoring the perceived sound and interpreting it as Cmaj
(T key) throughout will cause you to miss important information
about tonal tension.
 Fig. 2-1-2

3. Sentence with a main key of S

Sentences with S as the main key have a sense of openness and are
often used for choruses. The difference from the modulation to the S
key is that the key fluctuation to the T key is maintained. Therefore,
it often moves to the T tonic chord (measure two) but often returns to
 the S tonic chord with the T tonic as a dominant chord (measure
eight).

Fig. 2-1-3

4. Sentence with a main key of D

The sentence of which main key is D key is often used as the middle
part of a ternary form classical music. In J-POP, there are
considerably sentences starting with the S key. Note that the example
below treats the dominant seventh chords as tonics, as explained in
the first volume.
 Fig. 2-1-4

5. Using T tonic in S or D sections

In Fig. 2-1-3 and Fig. 2-1-4, there is a clear sense of resolution at the
2nd measure, so it is thought that the key is fluctuating to T key in
the middle of the first motif. This is contrary to the rules for the
arrangement of multipolar tonality, described in the first volume, but
the T tonic is also included in the S and D keys, and can proceed
freely between S and T or between D and T. Therefore, there is no
sense of incongruity. There is no problem using T tonic chords in S
and D sections.
2. DMT and RMT
As shown in Fig. 2-1-1, DMT include RMT, so all the techniques of
RMT can also be used in DMT.

1. Oudou Progression
IV-I-IIIm7-VI in a major key is commonly called "Oudou
progression" in Japan. Starting with IV, it has the effect of key
fluctuation to S key, and it has the effect of RMT by proceeding to VI
in the latter half, which is a relative minor key to T major key.

Fig. 2-2-1

2. Third interval progression

A chord progression containing roots that are a third interval apart is
an intrinsic progression of RMT. I-III in a major key, introduced in
the two-chord section of the first volume, is often used to express
sorrow in Hollywood movie BGM. If #iv[0] is used in this section, it
also incorporates the effect of the key fluctuation to D key in addition
to RMT.
Fig. 2-2-2
3. Affinity to Modes
1. Review the first example from the perspective of mode
Listen again to the example at the beginning of this chapter, Figure
2-1-2. The subdominant section has the same notes as F Lydian and
the dominant section has the same notes as G Mixolydian; however, I
think these modes could not be recognized for the following reasons:
●The section is too short to recognize the change of modal center to
F or G.
●There is no accidental promoting the change of the modal center.
In order to recognize a modal feeling in a short section, the modal
center should remain in C, and the accidentals that characterize
modes should be introduced. This can be achieved by using DMT.

2. Lydian feeling
Lydian mode can be expressed through a combination of T key
(major key) and D key. This is the mode characterized by a feeling of
floating by including chords with high tonal tension to the major key.
It is often used in Christmas music and for BGM in snow scenes in
film and television.

Fig. 2-3-2
3. Mixolydian feeling
The Mixolydian mode can be expressed by combining T key (major
key) and S key. By including a chord with a low tonal tension in the
major key, it is used to give a relaxed, but bright, feeling or a light
rock feeling.

Fig. 2-3-3

4. Dorian feeling
A combination of T key(minor key) and D key can be used to
express the Corian mode. Because it includes chords with high tonal
tension in the minor key, it can give a sense of courage and
adventure, so it is often used in the BGMs of role-playing games.
 Fig. 2-3-4
E-F-F#-F movement in the alto part is famous for being used in the
"James Bond" theme. However, for composition, it may be more
useful to remember it as the key fluctuation between minor key and D
key than as the “James Bond Progression.”

5. Phrygian feeling
Phrygian mode can be expressed by the combination of T key
(minor key) and S key. By including chords with low tonal tension in
the minor, it gives a sense of stagnation.
 Fig. 2-3-5

6. Modes as the combination of two keys

Let us listen to the above examples again, considering that the tonal
tension changes between the part that utilizes the modes and the part
that does not. Having a clear intention to control tonal tension will
allow you to flexibly use modes that are not trapped in one mode. For
example, by interpreting the Lydian scale as maj [Vmaj] or maj
[IIImin], the direction to Vmaj or IIImin can be clearly recognized. In
addition, you can also use #ii[0] that belongs to IIImin or iv[0] that
belongs to the main key. Neither concept comes out of the traditional
method of classifying the whole sentence into a single mode.

7. Locrian mode
Locrian mode can be expressed by combining D and S keys, but it
cannot start with a T key tonic. Thus, the difficulty in recognizing the
mode described in 3-1 occurs. Therefore, there is not much merit to
treat the Locrian mode as a DMT.
4. Using Two Tonal "Directions"
Thus far, we have dealt with fluctuations between T key and S key
or between T key and D key. Of course, you can also use T, S, and D
keys together in one sentence.

1. The simplest usage

The technique of repeating the same motif while transposing is
frequently used. A feeling of floating is expressed by the change of
tonal tension.

Fig. 2-4-1

2. Affinity with II-V-I

The sentence in DMT can be regarded as an extended II-V-I. Since
the II-V-I is IIm7 (S) -V7 (D) -I (T), harmonization can be produced
in S, D, and T keys, respectively. Accordingly, it is possible to
increase the tonal tension from the first S key section to the D key
section and give a resolution feeling at the last T key section.
Generally, there are four motifs in a sentence, so if you apply each
to S, D, and T keys, there will be one more. Therefore, S-D-T is often
transformed into S-D-S-T or S-D-D-T, as shown below. I want to
keep the impression of II-V-I as a whole, so I use the T key only for
the last motif. This technique is effectively used in the introduction
part of the “Chrono Trigger Theme” (composed by Yasunori
Mitsuda).

Fig. 2-4-2(1)
 Fig. 2-4-2(2)
Of course, you do not need to stick to II-V-I. The following example
uses the effect of changing the tonal tension away from II-V-I by
using the T key as the main key.
Fig. 2-4-2(3)
Chapter 3: Parallel Multipolar Tonality (PMT)
Parallel Multipolar Tonality (PMT) is a multipolar tonality found in
a section containing keys that fluctuate between the keys in a parallel
key relationship. The key signature covers three-flat ranges when the
main key is major and three-sharp ranges when the main key is
minor.
1. Function
Unlike RMT, it is possible to switch between major and minor
sounds with the same root.

1. Review of chord notation

Let us review the chord notation. Borrowed chords from the parallel
key are marked with ◦ (parallel minor key) or + (parallel major key).
Note that +VII matches the chord with the minor V7 with the root
omitted.

Fig. 3-1-1

2. Tonal range covered by PMT

Using Cmaj as an example, the range covered by PMT is illustrated
below.
 Fig. 3-1-2(1)
To take advantage of the DMT for Cmaj and Cmin, which are
central keys, the D keys for Cmaj and S keys for Cmin may be added,
as follows.
 Fig. 3-1-2(2)
With the addition of the D keys, F# can be used, and with the S
keys, D♭ can be used, covering all twelve notes.
2. Borrowing Chords
A method of borrowing chords from the parallel key is called a
modal interchange. The overall tonality is fixed, and there is no tonal
fluctuation.

1. Borrowing from the parallel minor key

First, a sample of general usage is shown.

Fig. 3-2-1(1)
If borrowed chords in the above major key are used in the relative
minor section, it can theoretically be classified as an RMT section.
However, since it uses parallel minor chords in relative minor key, it
sounds far from RMT.
 Fig. 3-2-1(2)

2. Borrowing from the parallel major key

+IV and +I are often used.

Fig. 3-2-2(1)
The second measure of the chord progression at the beginning of the
Beatles' song, "Yesterday," can be interpreted as borrowing IIm7
(+IIm7) in the parallel major key. +IIm7 is a code that is often used
when the sound of IIm7 (♭5) is too harsh in a minor key.

Fig. 3-2-2(2)
3. Using Multipolar Tonality
1. Contrasting major and minor sounds
In the previous section, chords of the parallel keys were used as a
temporary change in sound. On the other hand, in a PMT sentence,
the key fluctuation is deeply connected with the melody structure. In
the example below, the sounds of major in the first motif and minor
in the third motif contrast and the overall expression is heroic. "The
Legend of Zelda Theme" (composed by Koji Kondo) uses this
method to express the excitement and thrill of adventure.

Fig. 3-3-1
4. Inclination to African-American Music
1. What does "jazzy" mean?
If you fix the overall key and mix chords and characteristic notes of
the parallel key, it tends to resemble African-American music, such
as jazz. As shown in the example below, this is especially true when
dominant seventh chords are created by adding ♭vii[0] or ♭iii[0], and
in the fifth and sixth measures, when the major and minor thirds
collide.

Fig. 3-4-1(1)
In the above example, the blues chord progression and boogie
rhythm are intentionally used, but such an impression remains even if
style and rhythmic features are removed, as in the example below.
 Fig. 3-4-1(2)
Other techniques make it sound jazzy, such as heavy use of
chromatic scale, dominant motion including II-V-I's, and tetrads. This
is positive, if desired, but knowing how to escape jazziness is
necessary to produce a variety of songs.
5. How to Avoid Tilting to African-American Music
I am not specialized in African-American music, but I believe it is
characterized by eliminating key fluctuations and performing clear
modulations using dominant chords. I presume it is necessary to
facilitate improvisation. Therefore, the inclination toward African-
American music can be avoided by incorporating the key fluctuation
and creating subtlety. The method is described below.

1. Give tonal function to borrowed chords

In Example 1 below, Fm at the third bar is only functioning as an
embellishment. However, in Example 2, it plays an important role in
establishing the second motif's key of E ♭ maj. This causes key
fluctuation and avoids the African-American music feature of one-
key domination.

Fig. 3-5-1

2. Reduce strong progress in bass

If you use II-V-I or secondary dominant chords, in which the bass
progresses by fifth or fourth intervals, they have a strong role in
fixing the key. Instead, consider using a third or sixth interval
progressions.

3. Avoid overuse of chromatic scales

Form a diatonic melody as much as possible without using too much
chromatic scale. Note that the use of secondary dominant increases
chromatic scale progression.

4. The expression achieved by "subtracting"

 Avoid using tetrads and tensions blindly. A common reason for
overuse is to "enrich the sound," but it is hasty to think that it always
becomes “unsatisfactory” as elements are removed. For example,
removing the fourth and seventh notes from the minor scale is called
the “Yonanuki minor scale.” By removing them, it creates a
Japanese-style sound that does not exist in the minor scale. Keep in
mind that it is possible to create a completely different expression by
removing certain elements.

Fig. 3-5-4

5. Avoid collisions between the major and minor thirds

Use sus4 or sus2 instead of hitting the major and minor thirds
directly. In the example below, the major and minor thirds in the first
bar are replaced by sus4 and sus2 in the second and third bars,
reducing the characteristic of jazz.

Fig. 3-5-5
6. Cinematic Effect
PMT is easy to express dramatic effects and is frequently used in
gaming and modern Hollywood movie music.

1. Parallel progression with consistent chords

PMT includes all 12 notes. Therefore, parallel progression with the
chords in the same form can be obtained. Because of its unique
sound, it is easy to attract attention and is often used for fanfare.

Fig. 3-6-1(1)
“Mars,” in G. Horst's "The Planets,” has influenced many film
composers, including John Williams. As shown in the example
below, this effect can be obtained by harmonizing the melody with
major chords in the same form that moves parallel on a fixed bass.
 Fig. 3-6-1(2)
If you divide the octave equally into three or four intervals and place
a uniform chord on the pitch, you will get the progressions shown
below.

Fig. 3-6-1(3)

Fig. 3-6-1(4)
The pitch that divides the octave into three equal parts is a major
third interval, and the pitch that divides it into four equal parts is a
minor third interval. If these pitches are shifted upward and
downward from the tonic of a major/minor key, ◦iii, +iii, ◦vi and +vi
are obtained in addition to the normal iii and vi. Therefore, these
chords can be used with PMT. The example below aims for a fluid
and somewhat uneasy effect.
 Fig. 3-6-1(5)
An exaggerated effect can be obtained by repeating the two keys.

Fig. 3-6-1(6)
Japanese Music Harmony Vol. 2: — Key
Fluctuation Used in J-POP, Gaming, and Anime
Music —
■Version: 1

■Author: kayanochino ©2019

■Cover Design: pinoko kaoru

■Twitter: https://twitter.com/kayanochino
Please feel free to contact me if you have any questions.

■Audio samples download at:

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33b_PMX2tU7