. ..

1
. .

HARMONY 1

by Barrie Nettles

'
'
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· Berklee
COLLEGE OF Ml:SIC
.,
1
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Copyright (s) 1987 Berklee College of Music

All rights reserved.
7

HARMONYI

Harmony deals with the study of chords and their relationsh1p :o ene another.
The understanding of t1armonic practice 1s essent1al to the uncerstanding cf
the language of music. As in learning any language, tne firsl step in the
learning process is the development of a vocabulary.

THE ST AFF

The foundation of our notation system is a grid of five lines called a staff.

The positíon of notes placed on the staff visually represents relatíve

"highness· or "lowness· of pitches.

- high low

CLEF5

Each line and space of the staff may be assigned a letter n�me. The letter
names are arranged alphabetically in ascending arder: A B e D E F G. The
,j location of the letter names is determined by a clef placed at the beginning
of the staff. The following example uses the F clef (also known as tne bass
cien. The F clef locates F below "midctle C" on the fourth line of tne staff.

z - • -,
A BC OEF G
 Harmony 1 2

j The 6 clef, also known as the treble clef. locates G above "middle C" on the

- -,
second l lne of the staff.

., z
G A B e D E F

The e clef locates "middle C" on the rniddle line (or, in sorne cases, on the

,� - -
íourth line) of the stafí.

z r9 , ,
,-
A B e D E F G

-
_, .. ,

li z z 61-
F G A B e D E

Note that the music alphabet goes frorn A to G, and then starts over.

C D E® G A B D E F@ A 8 C D E

THE GRAND 5T AFF

,; IB &
When two staves and the treble and bass clef are used together, the result is
called the Grand Staff or Great Staff .

- ...
..

.. J

-
. ·--··-··---···· '"'·
 Harmony 1 3

LEGER LINES

Small lines called leger lines are added to extend the starr.
4-L
+ L --

Notice that the notes in the spaces directly below ar directly above :�:e staff
do not need added leger 1 ines.

The sarne app 1 ies to notes in the

spaces beneath or above the l eger 1 mes.
7

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx�xxxxxxxxxxxxxxxxxxxx******X**
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx�xxxxxxxxxxxxxxxxxxx******�***

To summarize, piten placement devices used in music notation are:

l) the staff, whích shows the high/low relationship between different

notes.

2) the c.1e(s, wnich locate p1tch names given to lines and scaces of the
staff.

3) the leger lines, which extend the five lines of tne staff for higner or
lower pitches.

:· ·'. .. ·�· '' :�::.:; ' -: .:::::·<.: .. :. :'•; ,• ,._.

... . .. -��•·<"·-· .... .. -....:. .. ··· ......-, . .........-. '-----,.- ......... , .. _ ···--�-----··------·-·---------··.·---·--··:_•�e�
' j

Harmony l

. j

C O E F G A B O E F 6 A B C D E

1 l 1 11
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1

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1
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1
1 1

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1

1 1 ';
1
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;

1 1 1 1
¡
1
' '
. '
"'--
-.
... . 1
-
- •.1
A
,
''
''

1
,/ \

i''
1 ,i 1
11 ;
1
' ' ' 1
' '''
11
' '
..... J

1
t
1

-� -
-
,

- - -.,..
I

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1, t - -- � ?1 � "lJ'
-i9-v
-8- - - ��

-- - t:, ��

'

Homework numbers: 1 , 2, 3

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'·.__:_ •..
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. . . . . . . . -.
. ._ .. - •, ··:· �
.. ..__·-- ,_-V-, __ . . __:__ .' ' -
 HaFmony I S

ACC I DENT ALS

The foregoing information about the Grand Staff covers the letter names of
the white keys on the keyboard. What about the other five notes (the black
keys)?

In order to maintain the mtegrity of the alphabet, the other five pit:nes are
represented as alterations of the bas1c seven p1tches. The terms :�sea are
sharp and flat. Sharp = 112 step higher, written as� ; flat = 112 ste� ;o•.ver-,
written as b. A "C :r " is the pitch 1 /2 step above C and 1 /2 step beiow D. The
sharp sign is placed before the note for reading purposes.

'
e e= o
-·,
o
-'-

i-é1-
1

_:•.• · .
----'
. •:.....· ... ·-.
;, ,;
 7
Harmony 1
1
.! The names of the twe !ve notes in ascencttng crder are:

ª;a
:!

A A:: B e e:: D o:: E r-

F:: G

ªª
i fr: A

Z:2 �
Z2 & �&
�:2 i 'ól ¿) �'2

ThlS series or
notes is cal led the chromªtis; sea 1 e. These ílO[.f: ·J
i tne
cnromat1c scale may also oe examined m descending order.

As witn snarps, f1ats are placed betore the notes to wn1ch they aoo\\'

'
A G Gb F E Eb D Db e 8 Bb A

� p� � �� 0 z:z bz:2 ... - '

-z'0 Z:2 0 f é,1 a
,)

Note that tnere are two options for naming the five black key pitrnes ',:.� .. Dt·
r.r r.:: e-;-. or
V '\.., o.:r
otc) When ther 0 ::iro t 1No (or moro) noc:c:1··01° n-::im�c: '--� �no
) '"'"' .,. 1 1 '-' - V vs ,.... ...,,w ..... ,...., , ...... . ·-.1 ••• ...,

same p1tch, it is said that enharmontc soe 11 ing is bemg appl ied.
J t_� ....

,1

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!
C.:t Db D-= Eb : 1
: !

��ta.,� :i
'1
: 1

,"\

.
�,

-,
.. j

11 1
' e o1E F 6
1 ¡
1 !

f'J
:Ll :::·. =: : ·:: :.;.;/;:rn:i:'./\�:�; : :;;. =:=-:· .·:> : •:. : •: :·.:. •,•: •, · ... _·:�. ::::·:,:;·:-�<=:: ..:<:;. :;:>:_·(�:-!:�;;;;,;�:::•; ;:·:::�:�::,-:/.:;·. .::
'

._
., - , • • y ;. ; - .. ,, • - --· � • - • .. • �
•
�......,.
 Harmony ! :'

Once a sharo or a flat has occurred 1n a measure, there muse be a ,neans of

cancelling (neutralizing) it so the ne-ce reverts to its unaltered conan;on. The
symbol UJed for this is a natural ( � )_ Collectively, snarps, �1ats and
naturals are called accidentals.

Within an octave (eight consecutive letter names), there �· - �'.vel·✓ e

half-steps:

C O E F - G A B O E F G A B

'-----Octave ___.....,

In certain situations, it may become necessary to raise or lower � ::;1tch by

*
two half-steos. The symbols for these purposes are-�- -for a double-sharp
and for a double-flat. These symbols are also ca11ed accidentals .

. . ·. : . .
 Harmony 1 8

. -, )CO( )()()()()()()()()()( )()()()( )0( )()()()()()( )()(;.:)()()()()( )(*j( )( )0( )()()(;�)(*·X )0( )()()()( :( )()()()( :.;***
. _j The rules for sharps C * ), flats ( b ), naturals ( q ), double-sharos (·�· ), and
double-flats (pe,) are:

1. A natural cancels a sharp or flat.

2. A single sharp or flat wi 11 cancel a doub le-sharp or double-flat
respective ly.
. ··1 3. One natural alone will cancel both double-sharos and dcuble-flats .
4. An accidental remains in effect for the duration of the measure it is
1n, or for the duration of tied pitches, inside a measure or 2cross the
-. bar-I ine.
S. To raise a note wh1ch has already been sharped, use a dcL:ole-sharp,
to lower a note whích has already been f1atted, use a aoubie-flac
6. An accidental ONLY affects a specific note, in. that octave, in that
clef. All other notes of the same name are NOT affected. ... __ ,

...
......
11

.. 1
1

...�-� --
--
-
,. 'n
'
ti
j &I

1 � 1 ...
--
'
��-
1
A
' �.,.
11
1 1�
1
n
-- '
. '
'
....,,, -....
•
-
w-
i•
-- )
•

Homework numbers: 4, 5, 6, 7, 8.
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-L�-•-·.
 Harrnony 1 - 9

A sea le is a series of ascending or descending notes in a stepwise pattern.

1rt rr
Thls ls a chromat1c scale. lt uses ali tne notes between the F's and ali the
pitches move by 1 /2 step. (Chrornatic implies "112 step.")

The following scale uses ali natural notes in an octave frorn C to C:

a eT a This is the f ami 1 i ar

() e major scale.

The same notes can be used to begin and end _at diff erent points in the order of
notes:

D to D E to E F to F
'}: 6' a tJ
� '1

D Dor1an E Phrygian F Lydian

G to G A to A B to B
2· c9 ?Z e

G M1xolyd1an A Aeol ian B Locrian

.-.1

7
Ali M �r12 2oove are scales, Dut tney·re noc me same k1nd or :3CJie. n-,1e
i
· ·' characteristics of the C maJor scale above are the l /2 steps r'rom tr\e 3rd te
4th degrees and from the 7th to the 1 st degrees. The dístance becween the
other notes is a Whole step (two · 1 /2 steps). In the other sc2ies Sí'iown
above, the ;1alf-steps Urom E to F and B to C) occur in different :;ar:s ;�f �ac
,esoective scale. Th1s creates a coilection of related scales kr:cwn as
modes. The modes shown above are all relative to the C maJor sc2:e. This
means that each mode starts and ends on a dlfferent note of :he : �aJor
sea le.

:-iere aga1n 1s the e ma1or sea le. o o

l 1 /2 1/2

i f th1s stepwise pattern 1s applied starting on G, the result 1s a G major

sea le.

a t?
'' e a
1/2

All major scales utilize the same stepwise pattern .

. ,
·¡
....._:;

· ...J
Harmony 11
 Harmony 1 _12
1'-100E NAME CHARACTERISTI es SCALE
1 /2 steps between degrees ( Para lle! to "C")

lonian (majar) 3-4; 7-1

@ 6
'-../
ª' a 0 ?2
"-.../

Dorian 2-3; 6-7 ª 1;7"A Q

Phryg1an 1-2; 5-6 a r

w m
'-./

,::-J1
��:;

.,..
Lydian 4-5; 7- 1 '1,1
-0- o e ij��6-
� 6'
�2

'
•'�:�
-�

-•:

Mixolydian 3-4; 6-7

� o 0-...../:� � i::2 �él
-......./

Aeo I tan (m inor) 2-3; 5-6 t2

� 'ª
e;,""

Locr1an l-2; 4-5

 Harmony 1 13

Sea les may also be descríbed by comparing them to the paral le! majar or
minor scale.

Thus, Oorian made may be described as a rninor scale with the 6tr-: degree
raí sed:

Phrygían mode may be described as a minar scale with the 2::C degree
lawered:
<b) a
q¡
) a f.? Ira 0

Lyd1an rnode may be described as a maJor scale w1th tlíe 4tlí degree ía1sed:
(�) o -&-

1'11xolyd1an mode may be described as a majar scale with tile 7t:1 aearee
lowered:
� -6'-
V 0 a 6'
'): ?) 0

Aeolian mode (also known as the minar sca1e):

-e-
-s,: ª 6' &iZ <5 a G't9 �

Leerían mode may be described as a minor scale with tne·2nd and 5th degrees
lowered:
 Harmony: 14

The m inor sea le (Aeo l ian mode) is a lso known as "na turar minor or
"pure" minor:

a 0 i,a o

_The harmonic minor scale may be described as a minar sca!e witr, the 7th
degree raised:

The melodic minor scale may be descrtbed as a minar scale with the óth
and 7th degrees raised in its ascendtng f orm; in i ts descending f orm the
melodic minor sea le reverts to pure minor:

The major pentatontc scale is a f1ve note scale. lt contains scale cegrees
l, 2, 3, 5, 6 from the major scale, and does not contain any half-steos.

tt ?2
'
'-''

· Homework numbers: 9, 1 O .

. ,
j:_::,,:: .,::',,:.:-e::'°,:,.:.:.;,.::::-.;:,;;:;,;::,;::',;:,;,;::,:: :::::'::::::,;;;):;;::i:::::,:,- .., .. • •.·.
.. ······� . � � ···----· ·- - · ··-·- ·- �.-- . -·-·-_--? ........�--:z�
 Harmony 1 15

KEY SIGNA TURES

Key signatures allow us to place the required accidentals of the various

scales at the beginning of a p1ece of music. They are placed directly to the
right of the clef:

"
V
,_,.,
' ,

l
-
..
(: /
U

The reader, before reading the music, wi 11 look at the key signature 2nc notice
..a. �- l

the accidentals to be used for all the affected notes. With the acccer-,tals o-f
the key signature at the beginning, the key is recogn1zable immea:2teiy even
if there is a lot of subsequent chrornatic alteration.

il
Refer to the hornework for scales. The sequence of examples was not
arbitrary (C, G, O, A, etc.). This sequence is the result of a phenome!'lon which
you will see throughout the stucty of music. lt is called the cycle of Sths.
To be logically sequenced, the building of key signatures follows tr:e cycle of
Sths. The placement and position of the flat5: in a key signature follows the
cycle Q.Q..'tLU in fifths:

Bb Eb Ab Ob Gb Cb Fb

The key of Cb has 7 f lats (al I notes f latted).

. ,·:'
 -Harmony 1 16

_ The placement and position of the sharos ín a key s1gnature fol1ows che cycle
�-in fifths:

The key of c z has 7 sharps; al: notes are sharped.

In order to be immediately recognizable, key signatures must a!·.vays ce

placed consistently on the staff

RIGHT WRONG

"'i The best way to recognize any key is to know the number of sharps or f lats
used for it. Another way to recognize the key signature is:

l) For flat keys, the key is represented by the flat BEFORE che last f lat:

+
j
2) For sharp keys, the key is a half step ABOVE the last sharp:

�!�ff#j e il, J
1 3) The key signature of one flat is F majar. The key signature of no
sharps or f lats is e major
.J

•,;,• • • • ■
 Harmony 1 17

Note that there is no necessity to use leger lines for the piacernent of any
accidentals in a key signature. Unlike th·e· general rules concerning che use of
accidentals, key signatures affect a!l notes of the same name regardless of
their octave.

Homework number: l 1.
 --....
i

7 Harmony 1 18

INTERVALS
.,'
:
.i The relationship of adjacent notes in ali the prev1ous scales is a whole-sLep
or half-step. As part of our vocabulary, we need a rnethod to identify trie
relationsh1p between any two notes.·

In order to do this, we need a 1ogical means of showing the dístance, or

interval from one note to another.

A simpie numerical rneans of accomplishing this is to count eacn ooss1ble

staff degree between the two notes to. f ind which number the �oo ;)1 tch
represen ts.

$,,,.(•
- ,-) � 6'
•
�
*' z::z
�
-'-�- I

2 3 4 5 :::: 5th 2 3 4 :::: 4th

li
;.-.t
The intervals in a majar scale between the first note and the other notes are

; --61-19-
perfect
.¿,p
majar
$
majar
a
--61--
perfect
6'
-6'-
perfect
a
-6-
majar
0
-6'-
major
a
-6'--
perfect
unison 2nd 3rd 4th 5th 6th 7th octave

1 fa major interval is made smal ler by a half-step (by lowering the top note
or raising the bottom note) the rnajor interval becomes mtnor:

'*J p Iµ ) l
(222 6'
v t+
...., minar minar minor minar
2nd 3ra 6th 7th

ri
,::Uh<=·_, ..
 Harmony 1 1 g

NOTE: lntervais may occur as melodic intervals (one note following the
other), as the minor 2nd and minar 3rd in the above example, oras harmonic
intervals Cboth notes together) as the minar 6th and minar 7th above.

When a minor or perfect lnterval ls made smaller by a half-steo, i: :Jecomes

diminished:

@ bZ2-&-
�; §� ��

�&- (� )-61-
dirn. aim. dim. dim. ... -•
4th Sth 6th octave

Notice that in all intervallic rel.ationships, one must first count the number
of starf degrees involved, and then qualify the relatíonship.

Majar and perf ect intervals made larger by-a 1 /2 step are cal led augmented
intervals:

+ -61-aug.119- &# f�
unis.
aug.
2nd
aug.
3rd
1Z:2
0"19-
aug.
4th
iól
·-e-
aug.
5th
��
�

aug.
6th
fó1v it
aug.
7th
aug.
oct
�

,.:..;· ' ._;:. •,·,::�:.,•-,. -:�7 . • ,;_ -.-·-•:,:-•:,

.. .. -�-,-�, ••��-..,�•�--••�::_---_.•---.--"- ,...,.�-,.T��·••···•!',-.;\f"":'''''--:7;11f""'
7

Harmony ¡ 20

Oiminished intervals made smal1er by an addit1onal half-:step b-ec-'.Jme douole

dim inished:

�
f;.
double
dim. Sth
t;
doub le
d1m. óth
1:
doub le
dim. oct.

Augmented intervals made larger by an additional half-step become double

augmented:

� bit
douole
b#�
doub le
f:
double
... .,
aug. 3rd aug. 4th aug. 7th

lt is also possible to have an interval which exceeds the octave:

�
This interval is called a
majar 10th a
(ora major 3rd plus 1 octave).

)()()()()()()()()()( )0( )( )0( )()()()(!< )0( )()(j()()()()( )()()()( )0()()()( ;,: )()()()()()()( )(•�)()( )OC( )()()( !'CC( �

)()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()(*)()()()()()()()()()H,E-

Here are the basic rules and names (when examining the distance i'rom the
first note of a maJor scale upwards):

¡) 2nds, 3rds, 6ths and 7ths are ma jor intervals.

2) Unisons, 4ths, Sths and octaves are perf ect intervals.
3) Major intervals made smaller by 1 /2 step become minor.
d 4) Major interva!s made smaller by 2 half-steps becor:ne diminished.
''1
5) Perfect intervals made smaller by 1 /2 step become diminished.
6) Perfect intervals rnade smaller by 2 half-steps become
doub Je-diminisned.
·� 7) Major or perfect intervals rnade larger by 1 /2 s�ep are
-�i
.:::..·• augmented; by two half-steps they become double auamented.
,,

Homework numbers: 12, 13.

i
u

:r1
�J:·,:>+: :::· -·
•..• -- ,---··•.•---··. --·.••--. ·---
. -
� , .. ,........ --· - ..... ·.r::·- -., •. ,...........,
 Harmony 1 21

INVERSION OF INTERVALS

lntervals describe the distance between two notes. The notes invoived can
appear and sound in two ways:

or:
a
¿;, o

In other words, any interval can be turned upside-down C1nverted).

;::==
��=0==:;a ====�¡0
is the i nvers i en o f � _____
...._
0 -8-
�
ana ·,:ce ·-:ersa.

When an interval is ínverted, the note names involved are still the same, and
the intervallic relationship follows a pattern, In the above example, one
interval is a major 2nd; the inversion is a minor 7th. Sorne simpie rules for
invers1on of intervals follow:

1) "9" minus the number of the interval equals the ¡nversion

interval:

$ ,&l) ; 11 ¡ 11 @
z�
\1
9 minus 2(nd) = 7( th) or: 9minus7(th) = 2( nd)

2) Major intervals inverted become minar intervals:

11
Majar 3rd Minar 6th

3) Minar intervals inverted become Major:

Minar 6th

.. '

,-, •'•:. ,::-:-,·.,.:_•) ·;;_,-:,-, .. =-· :.. ·.: ::-' ... : ::. ::: .,_.,,: .<,:·.·::::::,:.:,>>:.,,: ·-:-: .. f '-.:-··-=·<?\:. .-.:::., __:_ ... _,-. :-.-:-··:,
 :-larmony l 2:'.

@ g
�
� !
�e;riect Stn Perfec: 4th

5) Auamented intervals 1nve:ted become aim1nishe,J:

Auq. 6th Dim. 3r".!

6) Diminisr,ed intervais rnverted Jecome a:..;cmen�ec:

' ;fB
1 ,�-61--
'o :i
uim ..3rd Aug. 6th

7) Double diminished intervals inverted become double auomented:

Do1Jble Double
D1m. 4tt1 Aug. 5th

Double Double
Aug. Sth Oim. 4th

in 0r1Jer to correctiy produce an inversion of any interval, the oottom p!tUi

must be ra1sed one octave or the top piten must be lowffed one octave. The
Inv�rs1on ora oerf ect untson becomes a perfect octave and vice versa·
-e-
(]

·� minus 1 ( un1�on) = 6 ( octave)

:-. : · .. ,:,: •:-= .• ,. :�::i!:·::) :::::.: .. -: .,.·:::. •,: ....... ,·.· . -:..-.. · . .'. ·.:..::...··�--:�::::;,:;•::;:::::J:::::::::
-·- .-- -- �-- .. ....
-
-�
·-- •.- -· - ......... -�·-· .. ...
.... ,._ ,-.- ..,. .._ -· - -. ··-• ..�- . ··--__,_,,_,_�-� .
 Harmony 1 23

The tritone interval (augrnented 4th) is a special case. Unltke 2ny other
interval, when it is inverted, the number and qualifier change, bue it rernains
a tri tone.

9: is an augmented 4th (trítone - 3 whole steas)

sr is a dirnin1shed 5th (still tritone - 3 whole 5�eas)

Homework number: \ 4.
7
i
..
Har:-nony 1

TR!ADS

...� \ve have loo1<2d 3t :"\Ot-:::: 2 1 1:ne �n scale sic..:at:sr.s an,: i·.v-:; .10:1:� �.:.-�ci.r--:r :ri
,;--ir:ervai sit�at''Jns. No·'l't', we w:'1 place t '"'.,�':' :-1c�2s (0g=th2r t::: r0,m � r;.-•.):"G.
The terms usea to descrise thr2� ;,ote cnor�s w:11 0('; ;_t,e sarne 3S >:fer¿
major, minar. augmented, an 11 diminished C-Pe:f-:•:� .. 1s 1��c'J :;-:,,, ,Y'.�h
,ntervais)

.,..¡..,_'.:).
'•" '- e nütf:l ·'"'orce;
� \.,•1 , ·- ar�
� C'>l]e�
.;.¡ - +
-- r ;-ds
,a .
"'e "ac.·r
.ttr. ,.1 _!1.,
bu·'a·n
11 1 a
�L-- • f_�r
� U v c ,'- •-' --,.�L-
✓ ·�'·) -- Ce ,¡-"

tr.e 1n[erv2i of a 3rd. To start mt,..,. the rnajcr '3C3le w11l be 'JSé:-".'.:

º 0 t)
(J
f)

Ab8ve eacl1 note m the scale w11; Je �lacee two mere Jitches - t:"'.-= .-i-sr �·:tch
::i 3rc above trie note from tr,e ::.c2;!e �r-1e second pitch a 3rd above T.r.c- 5'.:'Ccno
pitch:

Ai1 (he pitches used to bl!ild the ct'\otrJs are rrom tne key cr:: maJor r:-iey 3re
dtatoni� to: m-ajor

The d1aton1c triads in the key or' e maj1;r contatn tnree cf the four .Jc:ss·;'ble
triaaic c:ion:j str'JCtures <rnajor, minor, and di:r.i:�1sne<ü : í �he ir.le:va Le
relationsh1ps with1n each chord are studied, these three -:hora types an,j tt'ei:'
characterist:cs can ::ie se�n:

1) Majur tr1ads: chcrds witt, intervals of a rnajor 3rd frcm the rE;Ot
�b0ttom note: te L1e rnidCl:; rote, �nd e oerfect Yh rrorn tr.e root -z.u

'i
t,1t top note:
e F G

�
§ i
2) Ml�✓CP. TRIADS. chords wi::h intervals of a minor 3rd 3íld pf:-fect S�t\
from tte root respectwe!y:

-- 'ªw
Dmrn E min Amin

j §
 Harmony 1 25

3) DIMINISHED TRIAD: ..a chord wlth an 1nterva1·or a mincr 3rd anG

dirn inished 5th, respect ively:

B dlrn

Note that in al I cases, the letter name of the triad signif ies the tot!om note.
This note is called the root of the chord.

In addition, each chord will be identified with a Rornan numeral reareseminc

. �
the sea le degree of the bottom pitch:

ª '
I maj II mm IDmiD IV :maj Y maj VI DÚll m dim

'
I mai ....

i j �

J. � �

Here are sorne universally accepted abbreviations used for triads:

C = C major triad. Optionally ·major" or its abbreviation ·maj" may

appear: i.e., e major ore maj.

··min" is fhe abbreviation for minor. Also used, thougn not universally, is
the minus sign " - "(which will remain the choice for this course).
"A minar" will be notated in this course "A-."

Dírniníshed is represented best by "dim" ora small circle above the triaa
º
name, i.e.; B dim or B

The diatonic triads are:

-'A:
1 maj ll min 111 min IV maj V maj VI min VII dim 1 maj

QB;_
11- 111- IV V VI- V 11 º

j § §
f
�
� �
� fr
�

:
•'C•,·. ::;:, :::::,� :•: ,:::.:.',;_ : ..;: .• : .: .:,.:. : :
,....�·-•.: 3 :•,:,.:. .:: ::::·;i�::�:::;::·,.� 1 ::::::;::< ;:;: ::::-:.<: .�;:•.•: ::• :.>.· : :.::-:.,!,::=�r�<,:;..:_:_• ..... .
-�~--•��-----•---- ........ ·�--�•-• • • ......_ --••
. ,
- • -•H • - • -· • •••-• • -•• - • -- •---• - ----
7
'

Harmony 1 26

The fourth type of triad, bes1des major, minor and diminisned, is _the
augmented triad. lt is abbreviated either "aug" or .. + ." The augmenred triad­
has a majar 3rd andan augmented 5th from the root:
F+ A+· Eb+ Bb� O+

�f�
The augmented triad is not diatonic to any majar key. lts usage will be
discussed later.

There is one more type of chord. rt is a very common chard in contemporary

music, and it daesen·t fít the normal pattern of stacked thirds. it is the
"suspended 4th" chord. The chord symbo l used is sus 4. A suspended f ourth
chord (sus4) is a triad in which the 4th degree replaces the 3rd degree:
-· . ,
G{ sus4) G-(sus4)

� :1
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
· ·, To summar1ze;
e maj

j
Majar triads are constructed with majar 3rds
and perfect Sths from the root: ; t
e- -

@
· · Minar triads are constructed with minar 3rds
and perf ect Sths from the root:

,,
�
C dim

@
Diminished-triads are constructed with minar 3rds

' ii
and diminished Sths from the root:
C+
Augmented triads are constructed witn maJor 3rds
and augmented Sths from the root: ti

Homework number: 15 .

--·- ....�......... __ ..
 Harmony 1 27
CHORO CCNSTRurr:cm (CONT'D)

SEYENTH CHORDS
The logical extenslon of a d1aton-lc_ trtad Is the addltlon of another diatonic
third above the fifth of the triad.

J t
The result is a diatonic seventh chord which contains a diatonic 7tn cegree
above the root. In triads there are only three intervallic relat10Ash 1 s-s. root
to 3rd, root to 5th and 3rd to 5th. Wi th the added pi tch of 7th C�1crJS, Uk
complexity doubles: root to 3rd, 5th, 7th; 3rd to 5th, 7th; 5th to 7th. Thüs,
7th chords are more comp lex than triads.

Chords with a majar 3rd, perfect 5th and major 7th from the root define á.

cmaJ7 Fmaj7

Chords w1tn a minor 3rd, perr'ect 5th and minor 7th from tne root define a:

D-7 E-7 A-7'

r.

m1nor 7th
chord

A chord w1tn a maJor 3rd, perfect 5th and rninor 7th frorn me root aermes a:

G7
domtnant 7th
chord

A chord witn a minar 3rd, diminished 5th and mmor 7th from the root defines
a:
B-7Cb5)

m1nor 7(b5)
chord

·- =---- . • • . . . __,..,... -
 Harmony 1 28

lt helos to compare tnese seventh cnords wltn the trlads on whlch tr-iey ar2
bui lt:

The chords built on e and F are major triads with major 7ths:
Cmaj7 Fmaj7

The chords built on D, E and A are minor triads with minor 7ths:

D-7 E -7 A-7

� 1 �

The chord built on G 1s a major triad with a minar 7th:

G7

The chord built on B is a diminished triad with a minar 7th:

B-7(p5)

ti

The chord symbols for seventh chords which will be used in this course are:

maj 7 = major triad w/rnajor 7th 7 = major triad w /minar 7th

-7 = minar triad w/minor 7th -7(b5) = dim. triad w /minar 7th

The diatonic triads in e major are:

1 maj7 11-7 111-7 IV maj7 V7 Vl-7 Vll-7(b5)

e maj7 D-7 E-7 F maj7 G7 A-7 8- 7(b5)

¡ � � � ¡ �

_,
 Harmony 1 29

There are other 7th chord structures which are not diatonic to a majcr key-:--­
/;
¡;'�_he + 7 (augmented 7th chord) w.hich consists of an augmented triad with a
'j mtnor 7th:
· ·

The 0 7 (diminished 7th chord) which consists of a diminished tr12d with a

dim inished 7th:

e ctim7

Note: in the diminished 7th chord, the diminished seventh interval is

sometlmes· written enharmonically.

e dim7 or: e dim7

The m1nor/major 7th chord [symbol: -<maj7lJ wh1ch consists oí a minor

triad wlth a major 7th:

C-(maj7)

Nottce in the chord symbol, the �_ .. represents the basic chord sounct (mmor)
wh1 le me �·<maj7th)" indicates the 7th qual ity. The parenthesis 1s necessary
to keep m mor and ma JOr from being confused.

r��
,,L:::, ... :- ._
 Harmony l 30

The major 6th chord and the -6 (minar 6th) chord which consist of a major
or minar triad respectively andan "added" 6th degree:

C6 C-6

The dominant 7(sus4) chord whích consists of a suspended 4th triad with a
minar 7th:
G7(sus4) G-7(sus4)

Homework number: 16.

�g

. . . .. .
.. :-:.<•:_.•. . · .:_..·,:,:-:-:-::' ;,
. . �---··- ., . ··-····· ., .. - -·
 Harmony 1 31

INVERSION OF CHORDS

The basic rule far inverting triads is the same as that for intervals: bring the
bottom pitch up an octave. There are as many positions of inversion for a
tr1ad as there are notes 1n the chord (i.e. three in a triad).

lf the root is positioned on the bottom (where ít would normally be for

naming purposes) the chord is in root position:

The rtrst inversion is accomplished by bringing the root upan octave:

The second lnverston is accomplished by bringing the root and the 3rd uo an
octave:

One more inversion would bring tf\e chord back to root position. Notice that
there are three possible choices far the lQQ. note of any triad.

. .. . .
•
'
,• ,
.
. ·.
. . .
:,:_·•_',)·'.;,.,•
 Harmony:

Since seventh chores contam íour notes, there are four pos1t1ons oí ;r,-,.ers:on
possible:

1. Root position:
e maj7

2. 1 st inversion with the root on too and the 3rd on the bottorr:.

3. 2nd inversion with the root and 3rd brought to the top ano �.-e Si:.i'1
on the bottom:

4. 3rd 1nversion with the root, 3rd and 5th brought to the too 2nd �he
7th on the bottom:

Homework numbers: l 7, 18, 19, 20.

-f,°:-"l
· LJ . .- . ,,,, . /:.,,,.,
 -- Harmony 1 35

TENS!ONS

-- i
Consideration is now given to further extensions of the 7th chord:

-
e maj7 �-

0
&
3 5 7 9 1 l 13

-
Chords laraer than 7ths exceed an octave and create intervall1c relat,cnsh1os
.
which are much more tense than the simple octave-or-less intervals cr tíiaas
and 7ths.

No matter what the inversion is, all the intervals in a triad or 7th c·.ord are
less than an octave 1n size.

Triad: Plus added 7th:

e emaJ7
�

Extend a 7th chord in 3rds as far as possible without repeating pitches:

5 7 g 1 1 13

There are now 21 intervals in this chord! A 7th chord in root position :1as 6, a
triad 3. The number of intervals has more that tripled from those oí tr,e 7th
chor:_d, while the 7th chOrd has only tw.ice as many as the triad. In addition to
the intervals which are less than one octave, there are now compound
1ntervals Cthe 9, 11 th and 13th). Sorne facts about these extended 7ths
chords should be recognized:

1. The added pi tches are not chord tones of the 7th chords;

2. They create tense intervallic relationships with the chord tones.

 Harmony 1 34

Because of this tense relationship with the chord tones of the 7th chora,
these extensions are called tenstons. 1, 3, S and 7 are the chord tones; 9,
1 1 and 13 rorm the basis for the cnord's possible tensions. Here is a e maj7
chord with its oossible tensions:

The 9th (O) is a major 9th above the root; the 11 th (F) is a minar 9th above
the 3rd; the 13th (A) is a major 9th above the 5th. The tensions whicn sound
best will be those a major 9th above a chord tone. (A minar 9tr, lmerval is <_,
extremely harsh sounding.) In the following examples all tensions 2re :hose a
maJor 9th above the chord tones:

Note that the ''F" has been sharped

in arder to create the major 9th
interval.
maj 9th maj 9th maj 9th

The 13tll (A) ts a maJor 9th anove the 5th; "11 (F :Z ) 1s a majar 9th above the
3rd; 9 (D) is a majar 9th above the root. Notice that tension :z 1 1 1s noc
identified as "augmented 1 L: Tensions are labeled as fol lows:

Cmaj7
( 131 )
#j
9

The chart of avaílable tensions for all chord changes is Oíl the followmg page.
Most of the available tensions are those which are a maJor 9th anove a chord
tone. Any available tensions that are nota majo_r_9th above a chord rnne are
listed seo arate ly as except ions.

MaJ7 1s- inc�uded In the 11st as a soeclai tension situatlon available Oíl cert.91n
cnord structures.

--
. . . . .. - -··· . •,•.• .·•
-
-,--- . ·-· ... -.---------�... <· ' . ... ... ·.•-· . . -·, • .......,..--.-~-,,.·
 Harmony 1 35
AVAILABLE TENSIONS

� �CEPTIOHS TO THE
AVAILA8LE TENSIONS
-·

AVAILABLE AJ 9TH A60VE A

TINSIONS WHEN DIA TONIC cHosm- TONE RULE
CHORO TO (EY 1

maj (triad) 9

mm (triad) 9

aug (triad) 9.•11(orb5)

AII available ten:1ion:1 mu:1t be a maj 9th above each chord tone
dlm (triad) and diatonic lo the key.

sus4 (triad) 1 1 (as chord tone) g

maj 6 maj7, 9 •11

min 6 maj7. 9, 11

maj7 (as cnord tone)

maj 7 9, 13 •1 l
m'llj7 (11:1 chord tone)
min (maj 7) 9. 11, 13
13 not available axcept
min 7 11 9 in Oorian mode cont.ext

min 7(b5) 11, b13 9

b9, •9, bS(see note 1 ).
dom 7 9,•11, 13 b13
--··
9. 1 Has chord tonel.
dom 7 (sus4l 13 very rarely: �9. --gJ¡ 13

aug 7 9, •11 (or b5)

Ali available tensions must be a maj 9th above each chord tone
dim 7 and dlatonic to the key. ,J -

Note 1 - b5 is a special tension situation involving an alteration of the 5th.

Note 2 - The avai lab le �ensions on dim 7th chords are not numbered 9, 11,
13, etc. Unlike other 7th chords, a major or minor 9th above each
chord tone results in four possible tensions, not three. Tr,e
numbering system to 13 will n9t work here. Specif1c available
tensions for dim 7ths will be shown·when the chords are snown in
context.
-,

Harmony: 36
xxxxxxxxx��xxxxxxxxxxxx�xxxxxxxxxxxxxxxxxxx�xx�xxx�*

Summarv of Avai lab le Tensions

Tens1on: Available on:

maj 7 maj7; -(maj7); maj6; -6

9 Al 1 chords (when diatonic to the key)

b9 and/or =g dom7; rarely, dom7(sus4)

11 all forms of minor chords;

as a chord tone on dom7(sus4)

maj7 and maj6 when diatonic to key; dom7; �7

¡ j
' 1
! •
b13 -7Cb5); dom 7

r ·1 13 maj7; -<maj7); dom 7; dom7(sus4)

:i
. •J

Chord symbols used to show tensions fall into two categories:

1) The 1 isting of tensions which are not diaton1c; D

2) The optional "courtesy" listing of tensions which Il diatonic. O

-•
':..:.i Tensions which would not normally be available MUST be !ncluded in the chord
symbol:

Cmaj7(#11)

:...J

e e
- -

C maj7 1n maJor ímpl1es only 9 and 13 avallabil1ty. maj7c:¡ l) would

indicate use o-f a non-diatonic tension.

Homeworl< numbers: 2 l , 22.

 -·

Harmonv 1

OIATONIC HARf"IONY

Any djatonic chord may progress to any other diatonic chord. The
control factor is the relationship between the roots of the chores. This :s
called root motion and falls into three categories:

l) The strongest diatonic root motion is movement down in Sths (tne

cycle of Sths).

lmaJ7 IVmaJ7 Vll-7(b5) 111-7 Vl-7 ! l-7 ,-,_,,,--

·,¡ /
Gmaj7 CmaJ7 F:-7(b5) B-7 E-7 A,-71
.
.., -,
'.) I

:1:t; � § �
�
�.
.,
.. '

The tensions available are deterrnined by the function of the chord in t�ie kev,
the tensions that are d1aton1c to the key and the tensions that are a major 9th
above a chord tone..

ª
____.
1rnaj7 1vmaJ7 Vll-7(b5) 111-7 Vl-:-7 11-7 V7

fH$� �2
r1 1 r( �l )(�AI) G

e:,)
�

TENSIONS:
�
3
(\ ;)
( 1 1)
(� ) (¡})
\/7 to I is the strongest diatonic root motion in the key, therefore 1t rece1ves
a special analysis symbol:
V7----....I
The arrow will always be used to show dominant resolution down a
perfect fifth.

2) Root motion down a d1atonic 4th is also strong although notas strong
as root motion down a diatonic 5th.
V7 !11-
G D7
11- 7 VI- Vl!-7(bS) IV
A- 7 E- 8- F = -7(b5� e
I __:.._; ,_____. ' J E J � Z:l
�

TENSIONS
i....,...__J

( ���)
(9)
. ( 9) (; 3)
 Harmony 1 38

3) Stepwise root motion is a little more subtle than root motion M 4ths
and Sths.

11 - 111 - 1 V ··.. 11 l - 11- 1 IV V(sus4) VI- V7 --

G A- B- C 8- A- G c 07Csus4) E- 07

1-....,1 1..-...J ._____,¡ L-..1 L......J. �

4) The other diatonic root motion is down or up m· thiras. Movemenc

down is more common than movement up.

ª
VI- IV 11- 111- 11- IV VI- V(sus4l ..----...
G E- e A- G 8- A- e E- D<sus"l� .... .:_,

�;� 1� f ! :�
l

� �
�
1..-J
�
<--.J
�
'---' l_,,J
� � ::

In reviewmg ali of the previous examples,.take note that they are repeated. lf
an end1ng point 1s sought, the best final chord will be the I chord. The 1
chord may be fo11owed by any other chord because it reoresents a
001nt or harmontc arrival.

::··. _,.;: ::+,::··.!.,··· ': ·:,: ,• ::: :-.. :,.;., ...... ; .:i:t�;;¡;;:,•.�::::: :: ,: �- .. ·:.· .. ,·
• •• .
--�---:-..--��----·----·•:- ' ·· -:•· ".:.. -� ... ,. - .•. , .....,.
• •.•.•.... ----·-·--•.,,., ...-►--- -·-··- .••. ••• • •• • .
, :" .......�·-�·:--··--.·--·-:--· ,..... . ·...:•·--�--- ·-········- ,..··
.
 Harmony 1 39
V7 (SUS 4) CHORO$

The V7(sus4) chord is usually built on the dominant degree of the key:

07(sus4)

�:� ,
2
- 3 4 5

The strength of dominant resolution lies in the root motion of a perfect 5th
down.

Since the V7(sus4) does not contain a tritone, its diatonic funct10n 1s
dependent on context: ..a.:.,

a
lmaj7 1 Vmaj7 V7(sus4)�6 V7(sus4) V7 -
Gmaj7 Cmaj7 07(sus4) Gó D7(sus4) 07

?:f$ 1� ¿, 1 J e ¿, 1 r' f

Another observation concerning the V7(sus4) chord can be seen if the

structure is categorized as having a subdominant upper structure Cs1nce the
tritone is not present). The chords sound subdominant but the root 1s
dominant:

11-7/ IVmaJ7/
/5 of key / S of key
A-7/ Cmai7/
/ D bass / D bass
" J
.,
A
-
j �::.
◄
Dom i nant roots:
... �
,,, -,., -
The above two chords each contain a subdominant sounding upper strncture
and the dominant degree of the key as their root.

L.• �--- -·
.... .. -····-··· -::,,-,,
 Harmony 1 40
These chords are common 1n contemoprary1 tunes:

11-7 / IV IVma/s
/5 of key S of key
A-7/ G(add9) e Cma/o G(add9)
/ D bass D bass

J j
:5 :!
11-7 over 5 of the key and IVmaj-7 over S of the key are both subtle versions of
V7(sus4) and should be analyzed as such:

V7(sus4l .....---...... 1
A/o
IV V7(sus4) -----.. 1
Cma/o
..._ -·,
O bass G(add9) e G(aaa9 l

:rl $
D bass

� �
� i1

The 11- ( 11-7) over S of the key and the IV C I VmaJ 7) over 5 of the key can be
seen as chord5tructures derived rrom the extended structure of the V7(sus4):

A-½
/o 1/o
Cma�
- o
07(sus4l, 11, 13

�E

�:
�* ! � � ! @
�
··:i
·I
. -�

,;J

. ':.
'7-í
. l'.:; i: .:;;\ · �::!: :: : :: :: ::: : . :.: ;.: ¡ i:::::.. -�: i·:..•::t:� ;; .;
;_,:_.
7
•
! 1

- Harm0nv: .... ,
.1
'

Di3t•J�rc cr,0r-c3 r.avi r;ar.1es t3�ea of tr-12 lor:;i�1on of t!":eir :--0::-1i:S ·N:I� 1 r1 �!:e
sc;:ile. Tr;2 1 choro iS ,:ai":P.C tonic; 1j,� v c�,c,:-d i.3 dorni:iant, V1e IV c.r,c1-(; is
C3i lea subdom ir.ant.

A)1 diatonic cnor:::s :an be catec;orized as sound;í,a ir nr.e ·J�- the th,e2
:ate'Jor1es:

1 ( 1.ri�; 11 :-
/' ..,
Ton ic: l�aj7 : 11-7

1� � i
, 1-,

,�
!1- : V ( tri:d)
Subdomlnant: ! 1- 7 :Vmai7

$t t
�
§
ti

\ ( triad) '/; lmrr:

;� i
Domir.ant: V7
;t
v:I-7(oS)

; �

. . .. .
-.,..., --. ...- . :,.. - -"'.•·· . -·-.,7,-·
 l
}

-
1V6

-
·¡7 -----
G 1)7

., }... )
.. - - -., ,. - '
, . ---
- '
..., ..,,
-- , , - -- - .
- - ..
.,

1
,� '
i1 , .,
_ry

l
,¿
1 fl ,I
1
'
1

..·-
1
'
-- - ...'
1 J 1 1
..
1

..
1
,.
�
' , ,.
,
.. t
'I '

0 =TONIC@ =SUBDCMltJANT ® = DOMINANT ( �) = suodomínert ·JO?er .�

�
�om;,1ent r-xn wm1

SlrUCture

a'/ substituting ctr,er chcrds from tr.e s2me functional s0·Jnc cat2go�-r it í<: .... _,
possible to reharmoniz� the aoove exJmp:e. The erd resu!t w¡;¡ :e a ::ew
chord pr0gression wriich soL:rids simi1'3r te c1� original.

0 0 �\
\Y
(

@ @
..........._
_\ (r)
..._/ (V (i'i
�/
111-7 Vl--7 11-7 'V7., Vl-7 16 iV6 V7(suS-:�
/·1 . 1
-
e 7 A- 7 E- 7

- -- ---
, 8 7 D7 C5 ,.,, sus4�
....
\JO

---- �.
" J, ./ -�
-
\...
/' '.'. ... - �. ' �
--
\¡., / i
'
.,
,,__, , r
� � �
rl 1 -11
!
l
ej1�· -. --� ,,:
- 1
i
- --
1

.. -- ....
1 1
r_;
. r
n .,. ' ,
\
,
,,

In c0mparing t;1ese two progress1or.s, sorne imp/')rtant facts must be

ccns i C:erea:

1) the ;--oct .-nctions are r.ot the same, though the mel0d1es are;
·
2) the melody anc reharmon1zation clloices must be compatable;
3) tr:e origmal resolutions of the two dorninant cho.-ds are no lor.ger
down a pei·fEct fiíth (the normal expected rec;olction fo:- V7 or
V7(sus4) is aown a perf ect fift:-. to the I rhordJ.

� ,;·:::: �::: ;� . ::.:. : .;. :::�;:i.:_::�: :; . : .. : . :-_."•-:

 Harmony 1 43

V7 ......-----. ¡ V7(sus4) ,........, v/i Vl-7 V7(sus:z. 111-7

D7 G D7(sus4l G D7 E-7 D7(sus4) 8-7

�:� &
� !! �
-61- !I & ?2
11 61- & 1
-
Notice that the analysis symbols for the "deceptive" resolutions of V? to 111-7
or Vl-7 are different from those for the resolution of V7 to l. ,he root
motion is not down a perfect fifth, so there is no arrow. The analysis symbol
is: V7/1. V7/I means V7 of I; V7 is expected to progress to 1, but :--esolves
deceptively (deceptlve resolut1on) to another tonic chord. ....__.,

. . :;··· .: -:: •.: ::- . .· .. . ........ . : ..

 Harmony 1 44

CADENCE
The term cadence means melod1c and/or harmonic movement to a point or
rest. That point of rest is the cadence.

Dominant cadence:

B:
01 G: 0 0
V7 � 1
0 0
Eb: Y7 ---..¡
@
B: y7..--..¡
0
8maj7 D7 Gmaj7 Bb7 Ebmaj7 F.:.t7 Bmaj7

·J 1 t2f g
2 & :1
Subdominant cadence: .... :_J

ª
0@IV 0¡ Bb:0@
F: 1 1 IV
0 C:0@IV 01 F:0@
¡ IV
0
1
F Bb F Bb Eb 8b e F e F 8b r

1 &
11 t2§ i !i !I 1
t- �
E&
¡

., �� � � � � �
� � ¡
i

A subdomtnant to dom1nant to tontc progress1on 1s constctered a

útlJ. cadence since all the functtonal sound groups of the key are
represented: 1 V to V to 1 1s me trad1t1onal ru11 cadence.

@0
IV
0
V ------... 1
C D G
 Harmony 1 45
Other cadential variations are possible:

IV to V(sus4) to I is subtle since there is no tritone involved:

IV Y(sus4) .,..--.....1
e DC sus4) G

! V to IV /dominant root to I is even mere subt le because the mot 1cn :':-cm the --�,
subdcminant to dominant only involves root motion from !V to v or' che :<ey:

IV Y7(sus4)

The 11-7 to V7 _to I cadence is ver¡ strong since all the root motion is down
in perfect 5ths. This particular variation of the ful l cadence is so stíong that
sorne styles of contemporar¡ music rely on it almost exclusively:

G: 11-7 Y7 ..----....!maj7 F: 11-7 V7 ...---...Imaj7

A-7 D7 Gmaj7 G-7- C7 Fmaj7

,,
·� 'J:t¡ J �
� ¡ j z� 1 qv
Bb: 11-7 V7 .----...!maj7 G: 11-7 v7- -.,maj7
C-7
·- F7 Bbmaj7 A-7

¡! 3
D7 Gmaj7

��
1
�6l �
�
:9 1

·.• :
-
·•.-:-;:!J:':'
.
·.1

Heirmony 1 46

.:.r.J
NAf"l.______________ HARl"10NY i HOME\vCRi-; .,-

HOMEWORK

: l identify, by piten name, all the followrng pitches.

a
1
2) Notate tne me lady in ex. l, above, 1n the bass clef. Use !eger !mes
wnen necessary Both examp les should sound exact ly the same Jn the
piano.

3} ldentify, by pitch name, ali the following notes in two of the C clefs:

NOTE:

�1Eir.:.:=z:oc=�====a:::e==== ===ª=:::;:;ª�===:::11�s-z.=:¡:iz:,i:::::6====a:::=c9====�ª=:::::o¡::=:::::¡¡
 .,e
""V

.j.
NAM.______________ HAPMONY I HOMEWCPK �9

4l Wr1 te thi s sh-ort me lady:

1
1. One octave BELOW:

il
2. Two octaves BELOW:

_,. One octave ,c..80VE:

il
4_ Two octaves ABOVE:
 NAM...____________ HARMONY I HO�EWORK 50

5) Notate chromatic mot1on betwe-en the given pitches. Observe-the rules

governing accidenta Is.

@$ J J ¡ bJ FJ J El
1 nJ !
--j __.
,
! '=
e ,,J
1 ! t: ¡ ;

6) Rewrite the previous example 1 /2 STEP HIGHER

;
_.;..,;

_, ' . 1, · .: .:•,·.
• •
 NAf"1,_________________ · HARl"lONY I HOl":E'dC�.k. S ¡

7) ldentify by name all the pitches> Then, place the number for all ,,otes ot
the chord on the aooropriate key of the keyboard below. The firs:: 2xarn.cie
1 s comp letea.

..
;!
! 1
i!
:f � �
.,
1,

.:
_,
2 <.., 4 e;
..J 6 7 ¡:¡
V
....
'-: ;o

•
u
:
i...i
...1
o
Q
!:

i ·.:

...
. l
, .1

. '
i !

,'JAf'i..__________________

8) Complete the following enhármonic pitch criart:

Natural Sharp Flat Double-snaro Doub ie- ilat

Notation: Notation: Notatian: Notation: NotaUon:

® �tb·��� ¡� 961 �& r.-...?,L

� *é?
--·
�·

�&
!

·•
-'.'i
r-�;
.. ·...
� ªª :

::--!
·:.:.i
'='J 'Jt �

.,

,·...

ci
$..-1

NAM._______________ HARMONY i HOMEWO™< 33

9) Cornpiete the rollowing ,.:�ar: vf maJci and mi;-,or sc3 i ,:;5_ lnd!car2 t:--ie . . .... 1 ' ,
• I ._

s�eos. Co not ,.;se ennarmcnic spe;1¡r.g. üc nct mix �i)J:--cs -.,ntn r:2t3:
¡'lur.ioer of
sher?s or flats
necessary for
MAJOR Sí'..ALE.
r-elated major
and m1nor:

Nona

a�
•¡
1
11
�11 ,. il-
'JI
il
B minar

______________ ___________ ..._

1
1

1
( '

ª:
◄
• A maior

¡
...
u
�,n '
,i.
..
,
A"'" TJ -
- - .,-n T

¡+••c;r
.,. '-,}.... . ,,

c. ..
el ".J 1

-.
1

-
···- .. . . ' -···· .. -- -·--- ·~ '-�-· -··•··•-·. ··-----•--1'.:.:::•·�
,.
.,
., \ 1 � "1C'
l,r� •L.----------------

1
;
.i

�$
.J (� 'J:

:1

11

_ ,.
,.. _
-!t
11
'

¡,
1¡
.,
 NA1'1._______________ HARMONY I HOMEWORK 55

MAJOR s:ALE: RELATED NATURAL HINOR:

Number of
snarps or flats:
( �•
' 1

(
- .... �-,., ,.. ,, ...- ·-
1 �-�,,,.¿;:.O-':.

! �
Ab major
.
---·
◄

'
l
◄
•
•u

-... -- ·- �,,,,9-
-,... . ,L,._
( -
,
V
,

.,
◄ G miror

( �....
,,
't • F majar
...

: . ,; ; ; . �... .
. . ....--..
. .
.. : . .
·--·
. :. : ,_.
.. ... ....,
.. ; '.,

.... ---
 NAM._____________ HARMONY I HOMEWORK 56

1 O) !dentify the following MOOES:

F Oorlan

& ,, & bc1 �6' ? & lnz G'

!&., 9 Q & ?2 �G ,; s
¿

-�.-

1;
.g. :ila
1

!;t: 1 � li� � :2
� �2 Q9 Z2 � � G ,2
� '?)

i
a.
�
�� � �
fc9 #a ij a Z2 ,5, Z2 �

�; (;, ,� & �2 �
::2 � �

1;1� ba ;tó1 t2:2

12: ¡i:, � ::
�

b:f b.a .e, �a

��
� z..z 6 t:z:z 1; 6' a s
z,
-�&� �

i '"
1
ttz � !z2 P6'
� (2 �
,�¡ �
a
ffe, \9- zr
1,,,
�
-ér

a e -&-f.�--
!@., �- ��=
¡¿
,.,
1
¡:;? ,s. ..
�:
i�?
�
�ü .?

-:1
......;}:.-:'.·.. : . :: . : .::::.:;:.! ::.:: ::· .:.:: :: ,: .. : :: ,:-•:•:· .... �;:_;; .- .,: ······· :.-.. ;: : .. · .,::,:·,:\.::,:::::·.:::::�i:_:: :,,:: :::·: .::•-·-:. . - .·-•:- .._:,::.. .:":::: -�-- ::..: :.;: .-:-..... ; . ·. -
.__.... . .... . ---- ,.. -- .,---•·�---··--·-·---··---•s:_-.:.··--·-.-·---- _,_,...._�.... --...�---�-::---·�
 NAM._______________ HARMONY I HCME\vORK ::, /

1 l) Write the key signatures for the fol lowíng keys and ident1fy the
-_ m1ssing tonality:

G maJor _ major D ma3or 3b ,,-,aJOr

'
_minor o min9r _minor _,"';1:nor

; _ ma3or
�¡

Eb major _ maJor
�:

_ '713J0r p.,��

F -= minar _ minar e = minor F í:l1nor

¡ _ rnajor
�:
e major
@
_majar
;j:

Cb maJor

A minar _ minar A -= minar _mmor

; �:
@
/-_)
�:

_ maJor Gb rnaJor _ maJor _ rnaJor

o.: minar _ minar G� rnmor BO m 1nor

@ �: ¡ q:

,_¡,

..
·•.•.···
 HAANONY I HCME�ORK 58

. .___ ... .·. . ,: ·•: ,,

 ·1

NAM.______________ HARMONY I HOME\vCP�---59

12) Complete the following chart of intervals from the key of Eb. Keeo the
h1ghest p1tch diatonic. Use the appropriate accidenta Is.

Diatonic Diatonic interval Diaton1c intervai

interval: reducea oy i ncreaseo Dy
112 steo: : /2 steo:

m in 2nd dim 2nd maJ 2nd

:u;; 26' �4
r-¡-t 1 1
�6'
1

@;=,==�t �& ¡z:.li�- __;1 �'=-=======�========•

,--1
'.""11
1

• 11
--- - - 1 1
-� - --
1

• rW" -

1
-..-- - -- .,--- -
A r--T1
V
�
1
 NA!"l..______________ HARMONY i HC�E\vCRK óO

.i
Diatonic Diatcnic tnterval Diatonic 'ntervc!
intervai: reciuced by i ncreasea ov
1 /2 step:

� t

'

ti

4,1 r--

L
-- - -

_:t:•-:;;.�
1 - '
NAM,._______________ HARMONY I HOMEWORK 6 1

D1atonic · Diatonic lnterveil Diatonic interval

interval: rooucsd by increa:soo by
1 /2 step: 112 step:

.
-- - - -
r--t
.,
--.. - --
� '
'� ✓-

1,/ ;
-
\

�- - ..,,., --- - - 1

• ,-

- -- 1
-

'�
ti
--
,-
- ,

�- - -
1 1

--,,_ - --
\
-

•
,--,
-
1
- -- - -
�"
11 ,,_- - -
....
11

-- --
--- 1111 .,.

ti ,,_
r
- -- 1
1

'�
• ,...,.,
,.., - ..
- -- - -
" .--,

--
.,,.. r

--
-- w- - -1
-
.�

--
-
ti Y ""

-·-- - --
" 1
�
''·�
.....
'
,_
,•,
-
,..
 N.A/"1!:______________ HARMONY i hO!'-"E'fiORK 62

13) Rewr1te th:s melody:

1
l ) A ma¡or 2nd h1gner:

1
2) A majar 6th h1gt1er:

.1
3) A majar 9th lower ( in bass cleO:

4) A maJor 13th lower:

1
S) .A. minar 3rd lower:

.j

6) .A. perfect 4th higner:

'·
.-1
1
 NAM.___________ HARMONY I HOMEWOR!< 63

14) Complete the following chart of intervals and their inversions diatonic
to the key of G. Label the intervals:

Diatonic lnversion of Diatonic 1 nversion of

.
lnterval: diatonic interval: lnterval: diatomc i nterva 1:

I
r..
m in 2nd

t
maJ 7th

.. , - .f&á fe
I ¡1 ,
r.,
� -•
►

� : �, ·"
.;
:

-a:.. -
-@± -,.-,. ??q::-1 '1
---=
11 -¡ Í ".�[•"•Mp1e �
@
==, .==- -����=¡· ======:¡1 ; J ... .. .� ,
. :-==�

::::¡ ==, .==-���..�,;4::::;1=======1 @f. ... .. .¡1, !

�1 ; ...... P$.. , !
i:=: =::.:,=::::, f:;::�.=;:;:,::::!:=• ��=,;::::=:::;::! ::::::====== =
:::¡=,=f=:;:i==,:.:, ::::::, *=:J::::::;::¡ ====:::::¡¡ ® ..... 51¡..,
• .. H, , !
' .. •¡

r r,
 -,
l

"- ' ., r---,�

l'lrl '�----------- HARMONY I HO�E�CRK 5�

( Ex. \ 4 continued:)

Diatomc 1 nvers1on of
int.erval: aiatonic 1merv�I:

:. .j
• .l
'

..
� _5. .$-•
@fü•-•f-•
ti

:J: :::,:':;:'�: : :·.:.,:.

·,._...¡

, .. .. _.. ······-•""
-
 t C::',
1 JI Ccrst;-un t�e ::1dic�ceo TC!ADS ·:n c;c-,o� Oo ne:
1;nharmon:c scelling.

e e- e aug e lj;in C( SJS-4) F ,· - �:uq F,�irrt F ( 3�;)

ti

E,b ob- Bb �ug cbd'.rr: 5b(sus4) t:b Eb- E: j!.. !J Eb 11m

1
�:;t s�4 :·

@ !@ ....�
AD AD- .Ab cU(J AO d1m AD( sus4) ºº JO- Oo aug ['t) r:!1ffi DD\ �\..<:-4:

$ 1@
Gb Gt- Go aug Gb dim Gb( sus4) Cb Cb- Cb �..:g Cb dim Cb( SU$4)\

; ¡¡
F= f.:t- r = aug F -= dim F=(sus4) B B- 5 �Cy j ¡j;m 3( :;u:-4 J

@ ii

'
E E- E aug E dim E(sus4) A A- A aug A dim A(sus4)

)s i@

'
D D- D ªIJJ O dim D( sus4) G G- Gaug Gdim G(sus4)

!i w
 HARf-lONY I HCr!EWOP.K óó

. i , :. ,i::,:,?::i:::: .+:
 N.AJ'"l,________________ HARMONY I HOME'tvCRK S 7

16) Construct the ind1cated SEVENTH CHORDS in root oosition:

e ma¡ 7 C-(ma¡7) C6 C-6 C-7

C-7(bS) C7 C aug7 C7( sus4) Cdim7

"-'U

F maj7 F-( ma¡7) F6 F-6 r-7 -.A.:..�

'

•
F-7(b5) F7 F aug7 · F7( sus4) F cnm7
'
•
.
:
8b ma¡ 7 8b-( maJ 7) 8b6 80-6 ao-7
'!

.,
BO- 7( bS) 807 8b aug 7 80 7( SUS4) Bo mm?

Eb ma¡7 Eb-( maj7) Eb6 Eb-6 Eb- 7

¡
i

!.
 Eb7 Eb aug 7 Eb7(sus4) Eb aim 7
'
(
' J

Ab ma¡ 7 Ab-(maj?) Ab6 Ab-ó Ab- 7

'

- .Ab-7(b5) Ab7 Ab aug7 Ab 7( sus4) Ab cir:17

'
•

Db maj7 Db-(maj7) Db6 Db-6 DD-7

•
.,
-·
-�
Db-7(b5) Db7 Db aug7 Db7( sus4) Db Gim7

r
•
. ·;;;
Gb maj7 Gb-(maj7) Gb6 Gb-ó Gb-7
.;
·_-,,2!

��"J

. \�
-¡
Go- 7( b5) Gb dlm7
"/¡}

.;;J -Gb7 Gb aug7 Gb7( sus4)

'
,

"

;:� ·..
' ..- · . -
-
.
t:j':C: :;., -� .· ·· . .
��A.M�-------------- HARMONY I HOMEWORK 69

Cb maJ 7 Cb-(ma¡7) Cb6 Cb-6 Cb- 7

Cb-7(b5) Cb7 Cb aug7 Cb7( sus4) Cb aim 7

•
F =ma¡7 F=-(maj7) F.:6 F=-6 'c.:_,'
���

F=-7(b5) F=i · F= aug (=7( sus4) F= óim7

7

ti

8 maj7 8-( maj7) 86 B-6 8-7

•
87 B aug7 8 7( SUS4) 8 cim7

E-(ma¡7) E6 E-6 E- 7

_.,

.
. - . ' ·� ' ' . .
 " 1

-.. , ",._.,r
¡·;,..,¡ ;¡:_______________

E-7(bS) E7 E aug7 E7(sus4) E cirn 7

J
I
ti

A-ó A-7
.} A ma)7 A-( maJ 7) A6
!

,
.,
A- 7( bS) A7 A aug7 A7(sus4) A �im
"' ·-'

1 D maj7 D-( maj7) 06 D-6 D-7

1 ..
..
.J

D- 7( b5) D7 D aug7 D7( sus4) D dim7

'
,
.,
~·
'
j

-_; G maJ 7 G-( maJ 7) G6 G-6 G-7

__!")

G- 7( b5) G7 G aug7 G7(sus4) Gdim7

:-i

"
...c.'l

::�: ..•: •: .
-
NAMc.______________ HAR�ONY I HOME',vCPK 7 l

17) Realize chord symbols for the followíng tr1adíc cr,ord structures:

't =,>}< <\:,'

---·---·--·•-•-•...-.,.,,º-· r:;:;-:�-r--·� .. "':', • r••· ·�Y
-. '
 NAM._____________ HARMONY I HOMEWORK 72.

18) Complete this triadic chord progression b_y adding the remarning chord
tones beneath the melody pitches. Then ind1cate, beneath the cnord, the
inversion using the following:

R = Root position; 1 = 1 st inversion; 2 = 2nd inversiOn

F A- O- G 8 dim e D- F

::::::t�:&�i '====
p ::::::::::f==
1 =:t· (==!==========�====::t:::tr==L====:��
f99º
' R

*� ,1 c:r- o
-
Bb Bb� F B aug E GZ G E-

il 1 gr r
t
!P f § ¡9� g
&
· -:, �

wf
;J

*t
A- o- E dim A aug o G aug F dim

.;. t -
-61- b� f. P.
�
1

jp ¡ ¡ 1 1 1 1 � E :1

•.-:i!
 NAM�------------- HARMONY I HOMEWORK 73

/Í90 Reallze chord symbols for the piano harmonizations below. Ali chords
L.J have their roots in the bass clef:

e maJ7
-·- -
( - .. - - ,
--3. -- -.,.,

� �� 1- ., .;.. "'
�
• �
<
,
y
!f1 ..�, ��

( � -·
-... - ...- ,
-. -- - -
-
• 7 1
A

--- - .. -
-·, - � • -- �- ,.. -,---il-... -_,_-�-
A

( ,, - - -ijr -
�-
..
n
,-��� 1=-- ...
�i� "1 •;,,-
y
◄

( :·• -- - --
-
-
..--
,_
,_
l
-61- '-/

.. .. - ,..-�
#, (•
.,

- ,. - - '. ,

f i- "
, ,� r
. )
.
◄
-6... y -ij• bZ· �
1

'
. - --
( - -. --
-- -�
1

po
,

..
,: :L .,: :,.,:·.,:,:;.,>':}::C\):·:,.,,,:._ ·> ::.:,.:,: , : _:,:·.;' :': : .. ' .., , :; ·::,,-,::.::,::;.:,)>>>',.,.•·:,:· :·. ·:-_
' '
 NAM.____________ HARMONY I HOME\\IORK 7 4

1J 20) Complete this harmonizat1on of the cycle of fifths by placing the

rema1n1ng chord tones beneath the melody pitches. Then índicate the
inversion for each chord.

R = Root position; 1 = 1 st 1nvers1on; 2 = 2nd inversion; 3 = 3rd inversion

D-7 G7 e maj7 Bb6 C7(sus4) f6

t !M �
4

R 2 R
C-7 F7 Bb maj7 F-7 Bb7 Eb maJ7

P4 9 4 �q
,-..._,

1 a &6'
Db6 Eb7 Ab maj7 Gb6 Ab7(sus4) Db6

4 � 1 ��
¡
Jl -1 �o

,. 1 �r
Ab-7 Db7 Gb maj7 c:r-7 FZ7 86
+

;1 9
tJ
!

r r �r
FZ-7(b5) B aug7 E-(maj7) B-7(b5) Eaug7 A-6

1(9¡) t'
tJ

1 �r r
E-7(b5) Aaug7 D-(maj7) A-7(b5) D aug7 G maj7

!f
"
.•:

. •, . . . :.- :•, ' ' ' ' . . ,,: ': . :

 NAf":,_______________ HARMONY I HCME'dCRI<. 75

Id
"'
21) All the melody pitches below are available tensions. lr.cicate the
tension number far each note: · ·

C rr.aJ 7 G maj7 C-7 F7 .. .._,'

�®E
8b maJ 7 C'°t"I .,.,�l7

r
-w

9
''
J ¡J J ! t2 .J

rEr 1
A-7 D7 8-7 F7 E7 A-7 D7

1
�tM
¡ g.1 rF ; ¡iJ
Gb maj7 F maj7 Ab maj7 G maj7

il ¡ �J J, ; J br a

c=-7(b5) C-( maj7) 8- 7 8b7 E aug7 A-7 F7 Bb6

! �
�
�
! �- � �� ¡a�� F� �
:1

,__

-..l.·:>:',_;,. ... ,;,<:,.,:..:•,::;;-,;·::; . .:.:;··· ;,:.,;:,.:,,::•·:·j,:,:-·,.,.�;.::.;: :..;,: :-::; : .. •·: .' ..

·.,- . ..
- . ,,....- -... , . .... -· .. .
 H.A.RMONY l HOME\vCRV-. 76

@ Realize chord symbols for this piano part. Place in parenthesis the
tensions being used. All chords.are in root posit1on.

- -. - ... ,,. . -- .
�

(.:
'
'' /
'
'
1 .....-.. - ,,�;:
el
,, . í
1

1
�z-: i
1
-
-:

b�-·
G, •
1 �-·
! .
..··-,., . ' 9-· ¡
l
:
' . 1
-. -
�
.. '

-�·
,r

''
.
'
• .

.. ,. . ..
( ,;' ...
◄
el
"
"fl
fio.
-.
,
'J • 1 J�' �- '2. f
l
,L r
� ,
n�� 1
:

,1'1�
-
,.�,,,. ,,... !
!

.j
j ..
. 1
. . !

-.
'

( /

�
1
-�,..,
,._ :

.,...
'
; .
.. . -, ...
' .
. . r,
-.. - . -
:= -- .
� ,
1 =:
1
.

-'
f�� -z-.
1 ,-b/- .. t
1

. --��-
1 i

. ..
'
1
- : C,
1

( ,,,
,.

-- . 1 ...
I' ..
.
'---- ..
'
¡

. :·•; ·.
 !
!
)
. l

,_¡ HARMONY ·2
by Barrie Nettles

.. ,¡
:_;

Berklee
COLLEGE OF Ml'SIC
i
1

Copyright© 1987 Berklee College of Music.

All ríghts reserved .
.,
'I
·1

j
 HARMONV 2

SECONOAR'f OOMI NANTS

The strongest characteristic of dorninant resolution is rnot motion down a

perfect íifth. The ·orimary dom1nani- in the key of e is G7:

G 7 ...-----.... C

n 11

The ·secondary dominants· in the key of C are:

v- V/ V7/

�-
/11 11-7 111 111-7 / IV IVmaj7
--
' A 7 �O-7 B7 �E-7 C7 Fmaj7

11
.

Z:2 ¡¡ �
�
z:l
Zl
i!
V7/ V/
/v...----. V7 VI
---
Vl-7
07 G7 E7 A-7

�: & 1 & 11 Z:2

¡ � !I
A dominant chord's resolution may be to ANY qual ity of chord a perf ect íifth
iower except a dirninished 7th chord:

11 !I 1
o ?2
11
(2 t) tZ : ?2
ª
 l
. ..,
1
1
l
Harmony 2 2

The chord of ;-esolution could therefore be any diatonic chord in a major or

minor key.

C: lrnaj7 G: 1Vmaj7 Bb: 1 i-7

.--- ----.
G7-Cmaj7 G7 Cmaj7 G7 C-7

�:
Z:2
¡::2
¡¡ ,2
�z 11
�2
z:z ¡¡
Ab: 111-7 Eb: Vl-7 f: V7
---....
G 7 ,.-.... C -7 G7 C-7 G7-C7

·, �:
�2
Z:2 11 �2
¡:2
il
z:z
Z2
:¡
�--'

When a secondary dominant resoives as expected (down a pe:f ect fif�h �ei the
_j
diatonic chord), an arrow is used to show the resolution.

The analysis of a secondary dominant will reflect its expected diatonic chord
of resolution:

Ab: G:
V7/ vy
/ 111 111-7 IV 1Vmaj7
G7-C-7 G7-cmaj7

9: V
e, 11 ª
•
?) 12

Eb:
v/v1 Vl-7
G7-C-7

a 22
11
As with the analysis V7/I (V7 of D, the diagonal slash means "of". (V7/II;
V7 of 11.) Also note that it is not necessary to indicate the quality of the
:j chord of resolution in the analysts symbol.
: !

,,...

,�::•; ,:_:;,�:?�:''.�??�!.- :�::'.'.: ,_. :-:_-_�'.-. - - -· ...

 Harmcny 2 3

.. ,
All secondary dominants have certain common characteristics.
l) They are non-diatonic structures. (At leasf one of their chord
tones 1s NOT in the key.)
2) They are expected to resolve to a diatonic cnord a perfect fifth
below.
3) They are ali built upon a diatonic root.

This last characteristic (a diatonic root) is the reason for V7/Vll in a rnajor
I
key being omitted from the category. The root a perfect fifth above
Vll-7(b5) is not diatonic.
\__---

: 1
 Harroony 2 4
�1
i

AVAILABLE TENSIONS - SECONOARY DOMINANTS

.1

Tensions on secondary dominant chords will .reflect the diatonic function of

-¡
.,,j

the chord:
V7/
C: V7/
/¡¡ / 111 v/iv vyv vyv1
C7 D7 E7
!-11'º
A7 87
- +--b13

15' 1 ú ª il¡f'º :1
-,..--13 +-11

v e h i i

�;e: ��J-�;�__;;;6���---����:;J�� a;e ea �;-�;.i�; �:b_;dn�t��;S�--

s

However, w i th domTmmt chords there are sorri-e-··¡m-¡'.5ortant except ions to the . ...._,
_j

majar 9th - above- a - chord tone rule.

1) The tension b9 IS available on dominant chords if it is diatonic, f

or ií it is indicated in the chord symbol. , f
2) Tens i on b 13 is avai lable on dom inant chords if it is diatonJc.
3) Tensions b9 and #9 may coexist on the same dominant chord ií
: ,

either one (or both) is diatonic.

-
CHART OF AVAILABLE TENSIONS FOR SECONDARY DOMINANTS

Available Opt ional Available

Chord: Te-nsions: Tensions:
j
V7/ll 9, b13 .11:9 (diatonic) and b9*
V7/III b9, b13 .11:9
V7/IV 9, 13
V7/V 9, 13 z9 (diatonic) and b9*
V7/VI b9,b13 z9

*Since 9 and zg are both diatonic to these chords, either may be available to
Jhe chord, but not together. lf :gis available, b9 may also be used.
l
_:J

'

. ¡.,. >-;:,<:;": i: : .· . ·-:•:· .

-,,. -- .
-- . ·' .. -�----- - ...- __, .-•-···•..- .. '
. •.. • . �--
 He:irmony 2 5
--·-

.. ,
' HARMONIC RHYTHM

The number of beats per chord withiri a progression is cal led "harmonfc
rhythrn". in 4/4 time, the most common harmonic rhythms are 2, 4, and 8
beats:

Harmonic rhytr·;m of 2 beats per chord:

C A-7 F G7(sus4) e A- F G7(sus4) _

, ,, . • -· .. -· ,, i .• ,, .. .• �
·¡ Harmonic rhythm of 4 beats per chord:

C6 D-7
14 El
A7 G7
•• •' ,.' ,. ..• •• •• •• .... •.. ..' ..• ..• ,, ,.' ..•
�

Harmonic rhythm of 8 beats per chord:

D-7

1 · · · · 1 •¿
G7 E-7
ffi ······· 1 ><
A7

1; ► ► •

In 3/ 4, the most common harmonic rhythms are 3 or 6 beats:

E-7 D-7

1 •...... •• 1 •. •... 1 •"..••• 1 ....••'¿

Cmaj7 Fmaj7 A7 67 Cmaj7 G7(sus4)

1
� (f: •....•. 1 .. ..
" ' • •• ..' ,. • • ';,

-
D-7 G7 A-7 D7
1
; ij ....,,' ..
1 .. � •" • •• ,.. �. •• "• •.. ,.·�. .. " .' .,·�.
 Harmcny 2 6

Chords in a progress1on will receive strong or weak stress, depending upon

their placement. This relative strength or stress wi 11 often determine the
•-..1
chord's function.

In any grouping of four pulsations, the first pulse is the strongest the last
pulse is the weakest; the second pulse is weak; the third pulse is strong.

u4.Js .J .J .J
w s w
¡ ; ;w ;s ; 1;s
S w etc.
(S = very strong; s= strong; W = weak; w = very weak.)

This stress pattern holds true for harmonic rhythms of:

A .. ,
2 beats per chord:
e e
•4 lij ,, >' 1 ' 1 .• i s. ,.
A- F G7(sus4) A- F G7Csus4)

s
•• ,•
w
"
s
>• •
w
> • .,.• .,.•
w
11• .
,., .., •• "
s w
�

4 beats per chord:

E
C6 A7 D-7
H� ' ◄ ► • p ► ,. ►◄ " ►,. ► ,. .
►◄ > >• ►

s w s w
8 beats per chord:

'* ( > 1 1 1 .'

0-7 G7 E-7
.,
> >• > •<
>. "ep• ►• >• >• .,. >•"'p"
1 • -<
>.

s w s w
3 or 6 beats per chord:
! Cmaj7 Fmaj7 E-7 A7 D-7 G7 Cmaj7 G7(sus4)

•@E s 1 w 1
.:J

"1 >e>• > ' -·►e •1 "• p

s
1p ,.
1 >e>• >#

w
••>,>•
s
od

w
•,
s w
·1
.J D-7 G7 E-7 A7

"i aj >< > >e• •<

>� •< > 1
>d •<
7. >< ►< >< ·<
7•

� � s w s w

. ' . .
'·._, •:·• .•
. - .. ··•.-:·:
. .
-
•,�,.':'.ºI"•·--·.• - .•. ,-,,,:-7·•,-- ....·-:�·;-.. -�.-...-:-·.-;-•�-�--��"';� "I �
-
 7
. ¡

Heirmony 2 7

Cadences most often occur from a weak beat to a stronger beat

F Bb F Bb C7(sus4) F Bb

S @---.s w S @--s w

Since the V7 chord is the primary cad-ence chórd of the key, it ;s typically
f ound on a weak stress point:

11-7 V/¡ 111-7 Vl-7 11-7 V7 16

1 -- .. i ,, _,J
A-7 D7 B-7 E-7 A-7 D7 ..--. Gó
► ► ► • ►► > ► ••

Tonic chords are-therefore usually found at stronger stress points.

This characteristic of dominant resolution from weak stress to stronger

stress is also found when secondary dominants are present:

. -�
lmaj7 VJB7�11 l 11-7 1/E7 ----.A-7
VI Vl-7
V7,
/V· V7
----- 57 ---

�l
,...--
Cmaj7 E-7 07
� � gs t �
�

@ ® 5 @ s ®-

. .,
_¡,
�e

-s
ªJ1 '1/iIV

®
1Vmaj7

I J j I Js J 1
C7 ----.Fmap

® ®
s
�11
A7
...--
11-7
D-7
V7 16
G7 �C6
Z2
s w
11
Thus, in addition to _ the other characteristics pertaining to secondary
dominants must be added the observation that they are usually placed on a
weak beat.
 Harmony 2 8
;
. i
�j
EXTENDED DOM! NANTS
!

l
-
-j Domínant chords whích are on strong stress poínts will NOT sound as
secondary dominants. Tr,e typical location for these chords is either the
beginning of a phrase or the beginning of the second half of a phrase:

11-7 V7 lmaj7 111- 7

11 1

D 7 �G-7 C7 ..-----Fmaj7 A-7

J o a
s w
11-7 V7 !maj7
D 7 --------- G-7 C7 --------- F m a j7

i& G
®----w
1 ) A ! º---------- º 11
s w

Such chords are "extended dominants· and have an expectation to resolve

down a perf ect fífth to another extended dominant or any diatonic chord.

Once the extended dominant pattern starts, there is an expectation for it to

continue, and eventually end with a diatonic resolution:

lmaj7
,_
D7 G7-c7-F7 -sbmaj7

Theref ore, extended dominants have one of two characteristics different

than secondary dominants.

1) Extended dominants are either f ound on a strong stress or;

_ 2) they are continuations of an · extended dominant pattern which
. ·, starts w itn an extended dom inant.
-,
 Harmony 2 9

The analysis for extended dominant motion is an arrow to the resolution

down a perfect fifth. In order to locate the extended dominants· relation to
the key, the scale degree of thé root of the first extended dominant is
included in parenthesis using its Roman numeral (without chord quality):
(1 ! 1 ) V7 1 m aj 7
OT-G7-cr--F7 ...---.Bbmaj7

Each extended dominant in a series can be seen (and heard) as being

temporarily in a key other than the eventual diaton1c key:

2:(b# J J 1
D7 G7 C7 t;:7
O I Bbmaj7

? d J & L0
�: f$ J
D7
CE,pect,,d m,1,hon to 07: V7/V io C)

D7 G7
'J �b $ J
= t::=: � =:t:=(Expected resolutíon lo C7: V7N in F)
:::2�::::J �==j�

•n� .J ; 1 d
D7 G7 C7
-
(Expected resolution to F7: V7 /V in Bb)

D7 G7 C7 F7
J ===:t:=<Since this dominant is on the wezkest
=:z:Jt:====t=
í

_......., .,=_
:2'J�Z�::'.u4f
.....:jJ�==J:::;Jt:=:ti
__,�t5,,'-------,.z;,.---�stress oí the progression, most listen-
ers will expect it to function as V7:
Key of 6b.)

Thus, each of the extended dominants will be V7 �V in a ·1cey of the

moment." except, usually the final dorñinant, if it is weakly stressed, will
sound 1 ike the primary dominan t. Additionally, to sorne experienced
listeners, the chord which is actually functioning as V7/V (the C7 above)
sounds like V7 /V and not an extended dominant; i ts anaiysis as either an
extended dominant oras V7/V is correct (since all extended dominants sound
1 ike V7 /V).

Since all extended dominants fuñction as \/7/V in their key of the rnoment or
he orimary key, the1r available t.enslons are g and 13; the same as V7/V ....
 Harmony 2 1 O

DECEPTI VE RESOLUTION
''
..:.l
- .
Another commonly found trait of extended dominants can be demonstrated if
the previous example is continued with a secondary dominant occurring en a
very weak stress point:

..
'

�Hilf=rs Jw I J J 1 <%2JJ
s e:
w
J
..., w s @
5J
In context the A7 meets all the criteria íor a secondary dominant. lts
placement is weakly stressed and it has potential f or a resolut1on rn a
strong stressed beat. Taken out of context however, it ls the first in a
series of dominant motion following the cycle of fifths: A7 07 G7 C7 F7.

Therefore, this chord sounds like a secondary dominant, but resolves as an

extended dominant. This is a commonly found example of "decept1ve
resolution", and requires an appropriate analysis.

Chords are first analyzed for their sound within the progression:

V7/
-j /111
A7

Any deceptive resolution is parenthesized:

il
. #i (lll) V7 lmaj7 · (V/111
7/ )
j
•n l: f
D7�G7�C7�F7�Bbmab A7

.,·.,.
J I d g 1 '9, ..l A = 1
.J
t
(A7 does not resolve as V7/IIL to D-7.)
 Hormony 2 11

Then, justification for the chord's actual resolution is added. ln the case of
A7, the resolution is down a perfect fifth Coot as V7/III, but as V7 of the
extended dominant D7), and therefore, an arrow will show that:

(111) V7 lmaj7 (V,:�í,1)

ij 07�G7 -----
C7�F7 �Bbmaj7 A7
-

.-
XXXXXXXXXXXXXX?EXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
. �
'.i. -··:1 - -.. :../ -· -r
"

�-- ::f. : -.=:-.,........Q..

-.. ... ...J � ../ .- i

;_;oJJc,,.,,-;r
In summary:
..
Í 1) Secondary dominants are dominant chords a perfect íifth above a
'
-feYs Lo 1 .11 :

)HTO}Jl{ff{
),
¡
diatonic cr,ord. Their placement is on a relatively weak
stress point with the chord of resolution on a stronger
stress.

/ 2) Secondary dominants are analyzed as V7 of the diatonic chord a

perfect fifth below. 1 f a secondary dominant resol ves
deceptively, the analysis is placed in parenthesis, and an added
1 analysis is used to justify its actual resolution. The available
\ tensions w i 11 reflect the secondary dominant chord's expected
\.... resolution, not its actual resolution.

--
Í'
f5'€Sf" 3) Extended dominants are dominant chords which are placed at a
pu.u':7 �ar¿-r; ) strong
.....
stress point, or w1thin a pattern of dominant
,.cesa)l¡t10n fol lowing the cycle. af fifths with an extended
S6 l< \t= dorninant as the s�ting point for the pattern. The available
tensions ar�andQ)Hor extended dominants.
€
. ' AtT fiJ2iC N ¡
p_rco P R.¡ É?
4) Extended dominants are analyzed with an arrow, since their
expectation is to resolve down a perfect fifth. The first
extended dominant of the pattern has the added analysis of its
root·s Roman numeral in parenthesis.
 _ Harmony 2 12

MELODIC ANALYSIS

Almost ali music has one common trait: repetition. The repeating of musical
ideas will be one focus of the melodic ana1ysis process. Before describing
the process, it is necessary to understand the ways in which ,11elcdic
repetition occurs.

Most song f orms (as described in Arranging) contain a certain amount of

phrase repetition. In AABA form, three of the four phrases in the tune are
the same or so similar that they can be said to be the same.

AABA

.
11 ¡¡z
.

H il

r·
�p 1 r ,. i} 1 a 1 s;;
,,
,< 11

19' j · J ; 1 a 1 J J1 1 � H 1 �; •f J !
11

,j
 Hermony 2 13

Sorne songs contain a repeated phrase which is only sl ightly different than
the orJginal phrase.

A ABA'

1.--
L--------,,, 2 .. 1
11

ji �
r· �p 1 (2 r· ¡l 1 z::2 �2
< 1
¡i J. JJ ! ¿;;,
1¡ � �
1 ,, 1 ¡ J J 1 �

¡@ g 1 $ Et J d 1 1 ll J 11
: ¡ 1
·:-�
�
t9
e
�
�� )
The form for the above song is AABA' (AABA "prime"). The last phrase is so
similar to the first two phrases that it can be identifted as "A", even though
i t is not exact ly the same.

Phrase repetition will be found in almost al l common song forms: AABA,

ABAC, ABA, ASCA, ABABC, etc. The form AB is most o_ften repeated over and
over resulting in the form ABABABAB etc. Twelve-rneasure blues is repeated
to produce the form AAAAA etc.

Melodic repetition occurs within phrases. Most phrases can be broken down
into three areas:

1) Antecedent - the first half of the phrase which requires a:

2) Conseouent - the second half of the phrase which may end with a:
3) Melodic cadence - movement to a point of rest.
 7
Harmony 2 14
¡
:,)
An exception to phrase repetition is found in "through-composed" songs.
Through-composed songs achieve unity through motivic repetition_ and
manipulation rather than phrase repetition. A "motif" is a musical fragment.
Most motifs are shorter than 2 measures in length. Melodic mot1fs may
,epeat themselves either exactly or in disguised fashion:
..

,�i j.
. '

JJ 1 a

\V �r·
l. , 2. 3. 4.

5.
tr 1
b.
a
1i[J:-
8.
1
9. 10. • 11. 12..
�

. _j
1 # ¡J · jJJ J I J. &)JJ
13. 14. 1!,.
11
17. 20.

Zt. zz.
1wt 1
.

.·J
1 1rhErr-01"
2.5. 2b.
1
.29.
r· �: j íl

�1 ' " 1 ;.
?iJ . 31.
1 J. J J I c9 11

.,
. ¡

. ..... ... •� .·
• .r•_ -. �........
 Heirmcny 2 15

1'1otifs may be manipulated using any of the follow1ng methods or

combinations:

1) Transposltion (Motif moved to another pitch level. This is

also known as· seguence.)

a
2. 5.

2) lnversion (Motif is presented upside down.)

.
¡g�
.J 19.
�· ��
�-
1 2& 11
21.
�.
-cr 1 ij� 22.
1

.:11..___ J

3) Retrograde (Motif is presented backwards.)

4) Rhythmic varjat ion

·. ¡
@�4 ,i ñ .n ; 1 bJ. JJJ J 1
9. 11. -

5) Melodic interval variation

25. Zh. 21. 2.e.

11

: .: .:· : .. ::: :·:::. =<=�:::�:;:,:_:!:<: .:.: :;.,: .. ::,:, ..;·,• .. :: ... •· .. • .. :.i .. �-:::i:;:,•·:.:.. ;_.•. :::::.-:·;., •:·: -·:::.: '•, . -� --: -·. ;.' :. •.· >-= ;. !!'•!·=�•: i:::·:· �->::::.:::::�.:�:==·-.:.:.:-:·.:.'_.. -·-=· '._J::,•- :- .
::...-- � . ··-. ·----=--··:: ..• .
•• •-:--:---··:,;:-•"-:-•---.-,__,... ... �-:---.�-�: :"_!"",...--!��. ··>��p;-....,.,.-
 Harmony 2 16

MELODIC ANALYSIS PROCEDURES

..
The first step in the melodic analysis process is to determine the song form.
Phrases which repeat exactly will be analyzed exactly.

AABA'

Ebmaj7 6bmaj7 Ebmaj7 Bbmaj7 C-7 F7

1. 2.
1_; .� [J .n 1 4.
a J '*@
5.
.a
b
Bbmaj7 G7(•9) ¡1. C-7 F7 Bbmaj7
11 2
· C-7
F7 6b

'l. 8. 15. 16.

Ebmaj7 Eb-t> 6bmaj7 • Ebmaj7 Eb-t> 6b

G7 C7 D7 67 7 F7
C

a] 11
G-7 D-7 Ebmaj7 6bmaj7 C-7 F7

11irJ J] l o ]
25. 1/p_
127�. [J JJ �i.1 a]
Bbmaj7 67(•9) C-7 F7 0-7 67

11
� Motifs should be enclosed in brackets ( [] ).
- .:.!

' --.::.:;::!:/<":-;.:_.•.:·:
- .. :.
 H.:irmony 2 17

The next step in the analysis process is the identification of individual note
relationships to each other and-tó the harmonies. Each notes will_pe either:

1) an avai Jable pitch

( a) a chord tone or
(b) an available tension.

2) an approach note .

. An"approach note" is a note which is a quarter note or less. in :uration and

which moves by step to a chord tone or available tension_ Appraach notes are
f ound in many configurations.

Passlng tones are approach notes which move by step between two chore:-.'...,
tones, between two available tensions, or between a chord tone and tension
Cor a tension and chord tone).

D-7 D-7 D-7 D-7

5 St7�5 11 S 9 11
b7 S 9 b? 9 5 /;,7 9

1 f the passing_ tone is diatonic to the key of the moment, it is analyzed as a

·scale" approach note ("S") .

.! The pitches preceding the passing tone and following it are ider.tified with
the number representing their harmonic relationship to the chord. In
addition, the approach note is identified with its scale relationship to the
chord:

D-7 0-7 D-7 D-7

5 S.f i:,; 5 11 Sb� 9 11

11 J. } J l 11 ;. �J J 11
.-i l. .••,
b7 S7 9 tg7 g S1 t,7 9
:i

-
: •:•· ·- ·- ·:: ,·•·:·_;":/:::.:::;};::_:_
 Harmony 2 18

Passing tones may also be chromatic. Unlíke scale passing tones, they will
most often not be diatonic to the key of the moment. Chromatic passing
tones are analyzed as "Ch" (for chromatic):

D-7 G7
r· 1'C r : il
1

5 CH 11 5 13 CH 5 1

Approach note patterns may start during one chOrd but resoive te a note on
another chord:

D-7 G7 C
!I
b7 5 b3 CH--1 177 5 CH-8

ALL - APPROACH NOTES RESOL VE TO A NOTE ANO CHORO OF

RESOLUTION. They are analyzed relative to the chord of resolution.

C A7 D-7 G7 C

..::.!
f sz-1 Sb1 bl5 11 Sb7-13 13 S4- 5
11
(OR.: 1 S2-1 u7 5b8-11 b7 1.3 Sb b1 f)
An unorepared approach note. unlike a passing tone, has NO preparatory
pitch but, like ail approach note patt�rns, it must resolve. Unprepared
approach notes are eíther preceded by a rest, leaped into, or a rhythmícally
repeated pitch:

J
C A7 0-7- G7

Sú5 9 8 S6 5 % 13
(OR: 1 9 5 9 5 13 13)

. .
·-
- - - ··--·--·- -- .........._.-..--.-�_-.. -��-
-
-.....
 Hcirmcny 2 19

Neighbor tones are upper or lower movement from an available pitch and
back to the same pitch (e_ither by scale step or chromatic step):

G7

9S3 9 9 1 C/4 1 1
11
(OR: 9 .3 9 9 1 CH 1 1 )
In addition to the above approach note patterns which involve single melodic
pitches, there are two easily recognizable multiple approach note patterns.
ALL APPROACH NOTES (SINGLE OR MULTIPLE) MAY TOTAL ONLY ONE
BEAT.

The double chromatic approach is consecutive chromatic motion in the:�.:._,

same direction to a note of resolution:

D-7 G7 Cmaj7 C6

11
;
9 CH Cf/ 1 CH CH 7 C/.1 al 1
(01<.� � 113 CU 1 9 CI-I 7 C/.1 1 1)
Note that the analysis for any form or chromatic approach notes(s) is Ch.
The other consecutive approach note-pattern is the indirect resolutton.
Two approach notes appear, one above the note of resolution, and one below,
and then the resolution occurs:

D-7 G7 Cmaj7
@
11
As with all approach notes, each note of the indirect resolution pattern is
·J ana lyzed as s or Ch:

S4SZ 3 CU CE4 5
11
(�; _b_7_5 .3 b9 CH
5 )

, ... _,. �· -. --• •-··- e · -:.. ... ,.....,._.;._-..... _ .... .. ...... » ...•... ..•· -. �-.- . •- 4 • , __ .....,_ - - •
�-r.-_,.,
 . Harmony 2 20

SPECIAL MELODIC ANALYSIS SITUAT!ON$

There are possible rhythmic alterations to melodies which affect the

melodic analysis. (See "Arranging 1 ".)

An anticipation is seen as a melody pitch occurring a l /2 beat prior to a

stressed beat e 1 or 3). lt may be tied into the beat it anticipates or therc
may be a rest on the beat:

Cmaj7 D-7 G7 Cmaj7

:i
ANTICIPATIONS ARE ANALYZED WITH REGARD TO THE CHORO THEY
ANTICIPATE ANO THE CHORO SHOULD BE CONSIDERED TO ANTICIPATE
ALSO:

Cmaj7 D-7 G7 Cmaj7

w
11
. 5 S4 .3 S 2 o3 S4 5 .S S-4- 5 5
(oR: E 54 3 .3 _!73 11S23 S4 5 5)
Sorne styles of rock music and jazz incorporate double time feel notation.
Anticipations in double time feel will appear as sixteenth notes:
. •j

Fmaj7 C7(sus4) G-7 C7 Bb7 F7

"��$¡;J-J$ 11
. 1 1 SS 13 S5 4- 1 SZ b; 3 S4 5 P7 55 13 1
(OR ·. 1 S1 9 13 5 4 1 9 ¿,3 .3 S4 5 ú1 5 1 )s�
The opposite of an anticipatfon is a deJayed attack. Here the rhythmic
alteration is seen a 1 /2 beat after the stressed beat ( 1 or 3)

; - t,7 5 St 9 5 S4 3 1
!I
( OR: b'. 6 11 9 f 54 3 1 )

cJ

r.,,�

�:;,;: :: ::-: .::.¡;:.;::;:>::;,,:;

 Heirmony 2 21

lnfrequently, anticipations and delayed attacks may occur by a whole beat.

This is most often seen in jazz compositions and arrangements:

Eb6 Bb7(sus4)

1 j$ J
· B.A.
• 5 5 5 5 5 1
Bb7 Eb7

1 1 B
�
1
A melodic suspension is a melody pitch which is tied into a difíerent
chord change for a beat or less. Melodic suspensions are analyzed as tbe_�:...,
chord tone or tension of the chord from which it is suspended:

E-7

Jh: ª' TI� ar [J

D E7 A7 A7

tJ ' 1---- Sbb1 5 S4- .8 11 ----· 11 �

11
(�= 1---1334-5 54 8 11 11 3 )

The melodíc analysis procedure in summary:

1) Note the ™ form.

2) Bracket each ID..Qli1. and include any melodic cadences.

3) Analyze each note in the motH as either an available

note from the chord struc_ture QC as an aporoach note to an
available pitch. (5 = scale approach; Ch= chromatic approach.)

4) Analyze repeated motifs with a reoeated analysis.

��XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX)EXXXXXXXXXXXX
�)(X iOE XXX )O()(X)(X)()()()()()E)(XX)()()()()(X)(X)( X)(X)()()(X)()()()()()()()()(�)()(XX)(X )OEX)(

'

. .. ·.;: _,. -:-, . � :�¿,;: :_::/\::- :.;.; .:,. •.. : .'· · ·< ·.
..

. .

•.• ., .....
-.. -�·""::.---::-o-T.��,,__..
,........
)-:-•;�-�. ..J_";"'!"r:·
�>-
 Harmony 2 22

HARMON!C CONTINUITY - VOICE LEADING

Chords presented so far have been in "close"position. Ali the chord tones are
as e \ose as possib le to adjacent chord tones:

'j
Cmaj7 D-7 E-7 Fmaj7 A-7 G7 Cmaj7

11
l

el �
! � �
1 � � l
Chords nave been seen in root position as well as inverted:

Cmaj7 A7 D-7 G7 F =-7(b5) F-ó Crnaj7

¿ il
Note that the top voice defines the requirect movement of the chord tones
beneath it. lf the top voice were not the controlling- factor, the ex2mple
could be "vojce led." Any pitch (except the roots) from a chord structure
·- :.J would move to the nearest chord tone of the subsequent chord following an
order oí pref erence:

1) common tone (no movement)

\( \,, 2) half-step movement
•
\ \ 3)
1
whole-step rnovement
4) movement in thirds (major or minor)

Cmaj7 A7 0-7 G7 F-=-7(b5) F-6 Cmaj7

• - --
,. r,
, -
-
-"" -6"
"

é•
-77'
◄

-- -
( _-: �G- q�
 H_eirmony 2 23

When a harmoníc progression is voice led (as above), "harmonic

continulty" is saíd to be in effe�t. A progression can also be demonstrated
by voice leading only the essential pitches of each chord. The essential
chord tones are the root, third (or f ourth on sus4 chords), and seventh (or
sixth on 6th chords); these pitches make each chord sound major versus
minor, and the major or m inor seventh further defines the chordal sound.

Cmaj7 A7 0-7 G7 Cmaj7

,.

( "� ,
,. -
- .. , I ,, .. -
-z:..
.;,
�61-- b7
'Í 7 ��-3 ?f .,
b� b�
..;;.., .,
3
� '6• b3
1

( -.- .
' 1
'!
r;
,,
"'
-- 1º qo
'

Generally, the position for the starting chord structure is determined by

sound; the best location for the chord tones (3rd and 7th) is within the
following range:

( �-•
,

-. -
/
( �-·
. ·¡
··-1

. ·-- ....._i-·'

The roots of the chords will be the foundation for the essential chord tones
�hich are voic€ led following the previous list of linear intervallic motion.
(Common tone; chromatic; whole step; thirds.)

Cmaj7 07 D-7 G7 f.#-7(b5) F-7 D-7 Bb7 C6

A '
- ''
(. ;.(;
�
,-Z
-· -
'
- --
,, ..,.
-- -�
� �(7 '#

. .- . . : . . ' . .··:.:- · ... ·-:··- ."f:,-> �: ::cj::: .

 Harmony 2 24

Considering the list of preferential motion, chords progressing with

·: unchanged root motion (chords with common roots) will use common tone
:.J and/or stépwise voice leading of the essential chord tones:

Cmaj7 07 D-7 G7 F�-7(b5) F-7 0-7 Bb7 C6

'
(:
◄ 'Í�
,-
fl -6
r,
1-6'-
,..
'
.:
'
.... �
, ....;;;
-6·--c>-6
r
-&-
' �
(;,/
'
-, '

■•- --
'
( - --
'
'
A
... ,

�"--Ll"
.,
/

u-

�
•·· PARALLEL
...•

(Uniike traditional practice, the use of parallel motion [two voices moving 1n
the same direction with the same intervallic relationship] may occur in
contemporary music.)

Chords which have -root motion in f ourths and fifths wi 11 have voice leading
J?I
of the essential chord tones by common tone, chromatic, or whole step:
·-•
• ..J
Cmaj7 07 D-7 G7 f .#:-7(b5) F-7 D-7 Bb7 C6

1 . .. - --
.. ,. r�
,, rJ
,, d� ..
'Z
V
, 1,9-_?"' � � 'é: ..
.::;.
�
◄

-·-· --
f

--
'

( ......
�,.

�"'
·'-

�� �
Step-wise root motion will require voice leading by step in parallel or
similar motion (movement in the same direction):

Cmaj7 07 0-7 G7 f .#:-7(b5) F-7 0-7 Bb7 C6

1• --" - .- " --
i•_!'�
, F
'-6'- fJ-
◄ '���:

1' - .. .,..
'
.... - ' --
,.._ ,._,
.____... --; �� �� �
 Heirmony 2 25

Root motion in thirds will usually require that at least one of the essential
chord tones is volee led in thirds also:

Cmaj7 D7 D-7 G7 f%-7(b5) F-7 D-7 Bb7

lntervallic voice leading larger than tnirds is generally not necessar¡.

 _ Harmony 2 26

GUIDE TONE LINES

The result of the previous voice leading of the essential chord tones is root
motion and the two " gujde tone lines." Guide tone lines are single lines
which are developed by the voice leading of the essential chord tones and
� the lis tener through the chord progression.

Individual guide tone lines may be one of three configurations: either one of
the two tines created from the previous process ora combination of the �wo
lines frcm the voice 0 1eading process:

ª ba
Cmaj7 D7 0-7 G7 F:-7(b5) F-7 D-7 Bb7 (6

& J �(J
.,; [qa 1 J �j
'
�� :1 ."':_,
.

;J 1 i pj 1�
�
!� �
� � 11

.,
; JJJiJ lqJJ J ! J .J �pJ i ;JQ J
lf the developing guide tone line appears to be approaching the limits of the
1 � 11
j_ given range, an adjustment may be made by utilizing one of the following
a I ternatives:
1) Within the duration of the chord, it is posstble to 1eap from a
guide tone toeither:

a) the same guide tone note an octave higher, or

Cmaj7 A-7 Fmaj7 D-7

.t
!
1
b) another gutde tone line-.
L
j

Cmaj7 A-7 Fmaj7 D-7

; ; J ¡ -LJ
1J !
-r9-

-�1·).': : .:,: :-:'•i: ': .-:- : :• : -'; ; •, :.: -: ... - �-:· �-!:.: : ,;:,: : : ::.: :·.: ::•, ;.;::,:,:: -:' ·_:,:-•·.
 Heirmony 2 27

2) Or voice leading may be suspended and the line started again at

_ -� different pitch leve_l either:

a) following a cadence to the I chord, or

b) at the end of a phrase.
--

Ebmaj7 Bbmaj7 Ebmaj7 8bmaj7 C-7

&� ;¡ J_ -i º
¡:-7

i g_ �"'._..
• 1

!�
1
�
� �¡

¡
ti __¡

� 2· C
Bbmaj7 G7( #9) 1. C-7 F7 Bbmaj7 -7 F Bb6
¡id J qJ 1
7

- &Í J 1 � -� J J �
!I_ ........:.:_�
'

w
Ebmaj7 Eb-6 Bbmaj7 Ebmaj7 Eb-6 Bbmaj7

1� J j
---'
1 a 1 � �j 1 J J.
G7 C7 D7 G7 C7 F7
¡f ¡ 1 �J- 1 ¡J qd 1 �J 11
1
;

� G-7
J. �
Q

¡w J,
D-7 Ebmaj7 Bbrnaj7

e· J J. - -
ª -�
�
�
-z,
C-7 F7 _ Bbma j7 G7( �9) C-7 Bb6

¡t
F7
�
--'
� 1 ! �; J �
1 � 11

. ---- -. ··-···:·--
 Harmony 1 ¡ 28

MI NOP KEY HARMONY - NATURAL MI NOR

Minar key harmonies are similar to majar key harmonies.

The comman minor key scales are:

Natural minar:

Harmonic minor (natural minor with a raised seventh scale scale degiee):

?2

Meladic minor (natural minar with both a raised sixth and seventh dégrees
ascending and natural minor descending):

The diatonic chords in natural minorare:

1-7 l l-7(b5) blllmaj7 IV-7 V-7 bVlmaj7 bVll7 �-7

vi t!'� :, 6 Í
I,
ti b�
o o
f, �
o
��

-E
.,,1 ,1 o
lt should be noted that the diatonic chords built upon the third, síxth, and
seventh scale degrees are labeled relative to theír locatíon above the toníc: a
minar third (blll); a rninor sixth (bVI); a mtnor seventh (bVII) .

. . •�··· ...... ··�·

ff-
·.•:·
•
·.•-·.:- •·• ·� . - ------ �- .
 -Harmony 11 29

· .. Í
Since natural minor shares the same diatonic structures as the related major
key, the context in which the chords appear determines the tonality, major or
minor:

ª
1-7 IV-7 1-7 V-7
\.... - { F-7 G-7
r -,
C-7

�¡ � �� 1
1
� � �
�
JJ 1

ª
1' 2 3

,�
1-7 IV-7 bVll7 !-7
-
(-7 F-7 Bb7 C-7

!!
4,
_¡

5
� � �
6
� ; 7 o 8 �

Two important characteristics about the diatonic chords in natural minar ar:e: ....:::....

TI 1) The diatonic chord buílt upen the dominant scale degree of the key
(sea le ctegree 5, the V-7) is not a dominant structure; it does not· contain
a tritone.

nj 2) The diatonic chord which li a dominant seventh chord structure is

_
built upon the seventh seale degree (bVll7).

When observed in context, the V-7 does not receive an arrow for analysis
since it is nota dominant chord wih resolution ctown a perfect fifth:

1-7 V-7 1-7

jep� - o o
C-7

1 J ; .,,_' J 1 -
G-7

1
C-7

iJ ot e

3 4

The diatonic chord in natural minor which is a dominant structure is flQ!. built
upan the dom1nant (5th) seale degree of the key. The bVI 17 is an example of a
dominant chord without dominant function:

,�
IV-7 bVl17 1-7
F-7 Bb7 C-7
5�2
el
• --• 1111 ..
!
6
� :J 7 (l 8 r
ll
¡ ·­
; -

.. :,·,···•·:: ,,. : . •.
 Harmony 11 30

The typica i cadences 1n natura 1 m inor are:

V-7 i-7

-=�-;=_-=--
:¡:=....::;¿:,._=_ = =-=-
;:: -=--=
�,t1..........��....;=-, =-J.....➔-=.....=J:t:_ - =_,.,::::!!I¡
G-7 C-7
V-7 to 1-7 (Melodic analysis
.) 1 Sb2 b3 1 is included.)

!V-7 i-7
F-7 C-7
IV-7tol-7
��¡, �
9
�
b3 11
� �--

1
:j
�= 9 H Só1 1
bVll7
Bb7
1-7
C-7 �=-,
�

,�b � � � ;a
!I bVlltol-7
1:3 t,7 1 1
l OR: 13 'u7 Sb1
_ _;

::
ll-7(b5) 1-7

@t
·-
D-7(b5) C-7
·i
·1
l!-7(b5) to 1-7
11
� �
175
�

1:,18
�

1
!I
- �: 11 t,5 5b1 1
�

bVlmaj7 1-7

@i
Abmaj7 C-7

� � � � t2
11 bVlmaj7 to 1-7
7: S1 9 1
"": '1 1 Sb1 1

....,
-_.

.·,: ::_.•:::•: .. :•:-•:;:_., ..

 Harmor,y l l 31

AVAILABLE TENSIONS - NATURAL MINOR

The avai1able tensions for diaton_ic chords in minor tonalities �_re r.ormally
those which are diatonic. · However, optional tensions exist- wh1ch are
generated from other f orms of m inor keys.

Optional
Avai1able Available
Chord: Tensions(s) Tension(s):

1- (triad) 9
1-7 9, 11 13
°
11 (triad) 11
ll-7(b5) 11 bl3
bl 11 (triad) 9 -=1 1 -.a._:_.
blllmaj7 9, 13 8
11
1 v- (triad) 9 11
IV-6 9, 11 maj7*

-r
IV-7 9, 11 13
I V-(maj7)* 9, 11, 13
V-(triad) 9, 11
V-7 11 9, 13
bVlmaj7 9, #11, 13
•'• •, bVll7 9, #l 1, 13
:; �

*The IV-(maj7) chord is not diatonic to any minor key since it contains sea le
degree major 3. lt is listed here since it is commonly found in place of IV-,
IV-6, or IV-7.

.._
' '
'

,•:.:,,.,,: ·,;,;.• :-:•:

.. ,
. -
.. � .� .....-..............,....,�·•·. ··-· :,..
-
 Harmony i l 32

_,
HARMON I C MI NOR
-,
i -
The lack of dominant seventh motion f-ram V7 to i in natural minor led to the
development of harmonic minar. The diatonic chord built upan the 5th scale
degree in harmonic minar ;s dominant:

·- ,
.i 1-(maJ?) ll-7(b5) blll+maj7 !V-7 V7 bVlmaj7 V!lº 7 1 -( ma31,

i bl b� ·I :, @ 1
�
o
º 61¿� pi ·:$
Tr1is alteration to natural minor for harmonic purposes can be scen 2s the
reasan for the name harmonic rnínor.

Three unusual diatonic chord structures are found in harmanic minor.

l) l-(maj7) is a minor triad with a major seventh.

., 2) bl 11 +maj7 is an augmented triad with a majar seventh .
º
,j 3) VI 1 7 is a diminished seventh chord.

In harmanic minar, an arrow is used to show dominant resolution from V7 to

1-:

'ª
1-

ª
IV-7 - Y7

ª
ll-7(b5) V7 1-
·1

e- F-7 G7
r
D-7(b5) G 7 ------.. C -

_,
� !z �� �
; J �

J
ª
º
bVlmaj7 V7 bVlmaj7 v11 7 1-
Abmaj7 G7
°
Abmaj7 8 7 e-
l�2 i � J � 1 �
j J qJ- &-
11

..J

..... ,,, . . : . ,. .
 Harmony : : 33

The typical cadences in harmonic minar are:

V7 � ¡..:...

:zt�f�¡, ==j:;:::;J�9;Jt::::t! =::z:======[

G7 C-··
0 ¡ V 7 to 1- [ or 1-( m aj 7) l
1 1,9 3 1 (melodic analysis
� is 1ncluded.)
OR.: 1 b9 S7 1

!V-7 to l-(maj7) ¡t
.,
�: b3
ª
IV-7
F-7

b3
� �
9 1
9 S-4
·1-(maj7)
C-(ma j7)

:i3
i,,;
¡
..... � • .J

11-7(b5) V7(b9) I-
,_r, D-7(b5) G7(b9)�C-
""
-
.... -
.,--... ' ,...,

•
e, V J

'.:
.
11 b9 .3 1
ll-7(b5) to V7 to 1-
.
- -.
o¡¿;1f

-
b9 S1
(All root motion is down
--
V ,
J ..
V !J in perfect fifths.)

. V11 º 7 1-

___
, ==_---,,=¡1
e-
:;;:= _,,
807
Vll ° 7 to 1-
:::;_@��-¾ =+=_rJ ::;:::;_J �;:;::;_ ::;::::::
OR:
T bb7 1
tiú7 S7
1
1
��
i§h G7(bg) [�J
[VI 1 ° 7 can be seen as the

J
upper structure of V7(b9l.l

. 'l

bVlmaj7 l-(maj7)

1
Abmaj7 C-(maj7)
= = = = b V l m a j7 to 1-( m aj 7)
:::¡ = ¿,:;; e: == = = ==:
= = = =
:Cl:;:¡�t:j;:��,:::: = j:;::=:::¡J:j=::::;J;;: == : ==
. .

el 5
C!t: 5
15 MAI'7
¡:; 55 ·
= 5
5
 7

7
1
Harmony 11

:.l AVAILABLE TENSIONS - HARMONIC MINOR

-·¡
1 The available tensions for diatonic chords in minor tonalities are normally
_j those which are diatonic. However, opt ional tensions exist whicr are
generated from other forms of minor keys .
..i
Optional
Available Available
Chord: Tension(s): T ens ion( s ):

1- (triad 9
!-(maj7) 9, 11 1,
' .J

ll º (triad) 11
ll-7(b5) 11 bl3
bl 11+ (triad) 9
bll l+maj7 9 =1 l
.J l V-(triad) 9
IV-6 9, 11 maj7 *
.¡' \V-7 9, 11 13
., 1 V-(maj7)* 9,11,13
V (triad) 9
V7 b 13 9 OR b9 and =g �
bVlmaj7 9, :r 11, 13
Vll 0 7 All available tensions must be diatonic and a major
ninth above a chord tone. The numbering system to 13
does not work here since there are rour potential
tensions.

((6\* The I V-(maj7) chord is not diatonic to any minor key since it contains seale
� degree major 3. lt is 1 isted here since it is commonly found in place of IV-,
IV-6, or IV-7.

·@"""'=-
bS is sometimes used as a special chórd tone on the V7 chord.

.--1¡
_j

-'

1
J'.___ --:;.,,;-: :,,.,
"'···-�--- ...... .... ·--� ·--·--�--. ._:::�:::::_-:;¡....,.. ,; .. -,.::<
- .. --·
. ,:i::·:: . ..:
-..,.,,_
·- -·
 Hcrmony 11 35

MELOOIC M!NOR

Melodies built frorn the harmonic minor scale have an unusual sound because
or the augmented second interval from scale degrees b6 to 7.

Harmonic Minor

a J i1
Melodic Minor (ascending)
i-(rnaj7) !1-7 b!ll+maj7 IV7 V7 Vl-7(b5) V11-7(b5) 1-(ma j7)

i� �1
ti � b¡ �� 1 !2�
i !2! ��-·
The traditional melodic rninor scale above utilizes a raísed 6th and 7th scale
degrees when ascending melodically. This allows for the use of a dominant
seventh chord on the fifth degree of the scale.

The 6th and 7th scale degrees are lowered when descending melodically. The
resulting diatoníc chords are thus the same as those in natural minor.

The alteration of the harmonic _minor scale for melodic purposes is the
reason for the name ·melodic minor·.

As is the case with the bVll7 of natural minor, the IV7 of melodic minar
represents a dominant structure without dominant function:

l-(maj7) bVlmaj7 IV7 1-7 bVll7 1-7

. .,

1r
C-(maj7) Abmaj7 F7 C-7 Bb7 C-7

1 J.
·d,.

Éb J J)1,J Q� �;1�- ,ci,il &

rª
�
��
IV-7 blllmaj7 . 11-7 V7 1-
F-7 Ebmaj7 D-7 G7 e-
:iil i �- �l�
J ! J ,&-.
il
��

:.; �.::-:;::::• •'-+:: ,:,,:• •' .. •, . ·� . .

 Harmony ! 1

The typical cadences der1ved from the ascending melodic minor scale are:

V7------. 1-

:::::p����=, ::::;==t=!
=
1
G7
=:::;==,, =====::;::.¡
C-
:::
.
J:!::=:�:=::; 1 V 7 to 1- (Me lodi e ana 1 ys 1 s
.. 1s mcluded.)
' 1 9 3 1
�; 1 9 57 1

11-7 V7
- ... 1-
D-7 e-
11-7 to V7 to 1-

;�,
G7
(All root rnotion is down
in perfect f ifths.)
�
1f
tl�
9
��
.3
2:2
1
:!
Oi'.: 11 9 S1 1 '"'-.:_..,,

j IV7 1-

¡�
F7 e-
��'
j
- .,
!j1v1to1-
§�3.
"Q.
� ��
:·c:1 9 111 1
-H 0ft: 9 3 S7 1

11-7 1-
D-7

;ti2
·...•-"i� e-
ll-7tol-
·..·..-1
�
11
t¡�
5
��
Só
Z:2
1
:j
!

VI l-7(b5) 1-

�tlz
B-7(b5) e-
7(b5) to 1-
!¡� 11 Vll-
?-2
� ��
1
1713 1,7 1
at: bl� b7 S7 1
Additional cadential motion may occur using chords generated from the
descending melodic minor scale (see the typical cadences of natural rninor).

'-· .. :.:;::::::::.:)::.:;;:::; :::.:·.:::.:,.:::-== :•:. ·:.:::...�-��.:.::�:::::�:;::�:::\{/k:�:::;l:i::(\:\t·:=/::-::;-

. •.•-•·• · :.·-· .. ... ··---.... -- ..... . .. .. ··- .,�·· -
, _.
·----- --------_.. ---� •·-• ..... ·····:--· ·:..:.--�.. �""P'-••·-·•·· ... --_:-·-··- ----":..•'"9'" ··•-.�---...-:.>:•• ....• ¡_ ,.
 Harmony 11 37

.AVAlLA.BLE TENS!ONS - MELOOIC MINOR

The available tensions for diatonic chards in minar tanalities are normally
thase which are diatonic. However, optional tensions exists which are
generated from other forms of minar keys. The available tensions for the
diatonic melodic minor chords derived in its descending form may be found
under ··Available tensions - natural rninor".

Optional
Available Avai Jable
Chard: Tension(s): Tension(s):

!-(triad) 9
1-6 9, 11 maj7
I-Cmaj7) 9, 11, 13 ....:._,,
II-Ctriad) 1 l
11-7 11
bl l l+(triad) 9 # 1 1
blll+maj7 9, ::- 1 l

-f 1v7
1 V (triad) 9 ::- 1 1
9, # l 1, 13
V(triad) 9
V7 b13 9 OR b9 and #�

Vl-7(b5) 11, b l 3 9
VI l-7(b5) 11, bl3

* b5 is sometímes used as a special chord tone on the V7 chord.

 ., 1

. ..,, Harmony i 1 33

1 SECONDARY AND EXTENDED DOM I NANTS IN M l NOR KEYS

/
,
In addition to the _use of diatonic chords, minor key chord progressions may
,j
__; inciude secondary dominants and extended dominants:

1- VJ/v V7 1- V"JV ,,,---..__V 7

_,..--.._
O- E7(b9) A7 O- E7(b9) A7 ___--

; J J_J__J ;1 j :: ¡
1- V7/. ----IV- bVll7 I­
-- /IV
D- 07 G- D-
1 z?2
C7

--E7 �.A.7 --------07 ------G7 -----

..• ·'·J

bVlmaj7 V7
.----
,_ C7 -------- F7 ---------. Bbmaj 7 A7

. _¡
1 g J il
1- vyv V7 1- vyv v7 _
.----.. ,..---
--D- E7(b9) A7 ------O- E7(b9) A7 ----

IW i J J'- !_J JJ J JJ I J J J_ I_J J; ; JJ 1

.J

---o1-- vy¡
v----
1v- bV117 1-
D7 G- C7 D-
lf � I!!
�
�.
� ! � � E � � s: �
c:.z
1 ;::::> � 1

. _j
 Harmony 1: · 39

-
As with the use of extended dominant motion in major keys, the extended
dominants in minor keys will function in a key of the moment and have
available tensions 9 and 13 •. The available te�sions for the secondary
dominants will be diatonic and meet the criteria for available tensions.
However, sine e the 6th and 7th sea le degrees of any m inor key may be natural
or raised, these diatonic pitches allow for different options ror sorne of the
secondary dominants' available tensions. For example:

vyv vyv

J " 11 �J ,.,
�-b13
j-61- -- __· ¡3
1 qj
t
- !I
87(9) from 87(b9) from E7( 13) from E7(b 13) rrom
harmonic or natural rninor harmonic or natural minar
melodic minar melodic minar

Additional ly, bVll7 and I V7 can be seen as having secondary dominant

potential; both are a perfect fifth above a diatonic chord (bl 11 and bVI 1
respectively). However, the diatonic function of these chords is stronger than
their potential secondary dominant function; they are diatonic chords bVll7
and IV7 as opposed to V7/blll or V7/bVII, even though they may-progress as
SUCh:

1- l l-7(b5) V7 1- bVI 17 blll+maj7 IV7 bVI 17 V7 1-7

�:,
·� D- E-7(b5) A7
...--....
D- C7 F+maj7 G7 C7 A7 D-7

! ,J J ti
1

'- 6' r9
L,
-.J
.....
 Harmony l l 40

UNE CUCHES

A line clíche is a single line Which moves through a single chord. The line
el iche wi 11 always move chromatical ly:

'
1-
l-(maj7) 1-7 !-6

.,.'p
D- D-(maj7) D-6
- .
D-7
> > >d ►e >e ,,e • >'

The above line cliche can be identified as the single line:

' ¡

While the basic chord remains:

_-, I­
• J D-

Line cliches are ver¡ common to minar key harmonies.

Other characteristics o-f line cliches are:

1) They may occur on the top; in the rniddle; or, if the line
cliche starts on the root of the chord (as the above line
. .
_, cliche does), on the bottom of the voicinQS .

2) They are used as gui de tone l ines and as 1 ines deve loped in
the voice leading process_
. .J
. -·.•
.1 3) They always appear in the area of the chord above the 5th
........
and below the root.

;J

- -.-.·.
. ··\

.. - . ,•'• . •. . -::::: .; . ,;:>.-::: ">' -�

--,··-�•:·ch··.•, -.,.,. ....·,:-� .. ,,.,,.,.. ··•·•·••··" ·-••····!._-,.-.":"-.•�;o·--�-'t"l!�·- --
 . . ..
-l
Harmony 11 41

Another of the most common iine cliches is:

I­
D-

Line cliches do not always continue their motion in the same direction:

I­
D-

When a line cliche 1s present, the available tensions are those for the triad.

Other line cliches can_be found by starting on 6, -7, or maj7 chord degrees and
moving chromatical ly:

1-
D-

®' �r
p F 1 ir r
1-
D-

;· F �f
p 1 pJ z3
1-
D-

@� ic §(' 1 �( F

•···-·· ·..:..,..,,.,.
 Harmony 11 42

Though line cliches are fundamentally associated with minor tonalíties, tney
may be seen in major key harmonies. Most often on the I or IV chords:
.1

IV
G

or on the 11- or VI- or IV- chords. When the line c!iche occurs on the il­
chord, i t often progresses to the V7 chord:

11- V7

i�:::r ====::::1 :::��====::;::f2z:=======:j

E- A7
I l - to V7 in D majo r.
�

VI-
B-
VI- in D major.
fHJ ,J
IV-

'1 g
G-

¡J 1j
===:t==;::==::;:=:t:=======:j IV- in D ma jor.
J qz
Less often the line cli<:he may appear on the ll!- chord .

. •, . ,•-:::� ·�i=·��.;::(;:::::-;\;,,, ·.� • .. :, ·. :<:

. • • ·- ..... . . � • • --·· · . • • .. • • • • • • • .. • • • •••••• • . - .. ......l"""'' ••. • ,._ ,.• ,. •
-
 Harmony 11 43

MODAL INTERCHANGE

MODAL INTERCHANGE IS THE B0RROWING 0F DIAT0NIC CH0RDS FR0M A

PARALLEL M0DE (SCALE) ANO USING THEM IN THE PRIMARY KEY:

F-7 G-7(bS) AbMaj7 Bb-7 C-7 Dbmaj7 Eb7 F-7

6'

. . ' .
�¡t¡j��1��wc: = ==== == ===0 :::;a;::=zQ::;::'9�= =::q�oz:====0�===
'
F-(maj7) G-7 Ab+maj7 Bb7 C7 0-7(b5) E-7(b5)F-(maj7)
Parallei icey: = ==== = = ==== =
(melodic minor) 1 0 (:? 4
.�

Modal interchange between minar tonal ities is a very common harmonic

practice in contemporary minor key tunes:

' !
r
F natural minar:
F-7 Bb-7 Eb7 C-7

d 1 e· r
F-7 G-7 F-7 C-7 F-7

J. J ¡
Borrowed from
,j j a 11
F melodic minor

,: :,.
 :¡
Harmony 11· 44

The use of minor tonality chords in majar key harmonies is a commonly found
example of modal interchange. Such chords are borrowed from the parallel
minor key (the key of 1 -:), and used in the parallel major key (the key of 1
major).

Fmaj7 G-7 A-7 Bbmaj7 C7 0-7 E-7(b5) F�j7

Primary key:
(F major) $2 CJ &
G
0 a o

,��1, ,,
_,

F°--7 G-7(b5) Abmaj7 Bb-7 e :.. 7 Obmaj7 Eb7 F-7

Parallel key:
6' ?2 '9 C7 é)

.,
?/
(F natural minar ) 1 r9

The natural minor modal interchange chords borrowed f or major key use are:
IV-, IV-6, IV-(maj7), IV-7 (a11 the forms of the IV- chord.):

IV- imaj7 1 V-6 lmaj7 1 V-7 lmaj7 1 V-(maj7) lmaj7

Bb- Fmaj7 Bb-ó Frnaj7 Bb-7 Fmaj7 Bb-(maj7) Fmaj7

bVlmaj7: bVll7:

+�
bVlmaj7: lmaj7 bV!l7: lmaj7
Dbmaj7 Fmaj7 Eb7 Fmaj7

1 &J �J J + 11 j' � � iJ � � i:2

11
-
The harmonic minor modal interchange chords borrowed for major key use are:

ll-7(b5) V7(b9) l 1-7(b5) V7(b9) lmaj7

G-7(b5) C7(b9) Fmaj7

@PJ &J �; J +
11

,·

'JJ
i�:::.-:.:-=--:=-=:.·-.•· . ·-. ·····•:•·-:'·•::· ::·:. :.�_:-_. : _ :;·_b==-�·-·· ··: .': ...�... : -. ___ . ·.. : .
·-··· . - · -.. ....::• ..... . .
. .. - _ '
·-- ·······
 n- - -
I
Hormony ! !

j bVllmaj7, though not diatonic to any rninor key, is a very common modal
.::15

/ interchange chord:
!/
: 1
bVI lmaj7 lmaj7
Fmaj7
;{
Ebmaj7

JJj J 4 11
bllmaj7, though not diatonic to any minar key, is a very common modal
interchange chord.

The tonic natural minor chords 1-, 1-7, blll, and blllmaj7 are also fou0d as
modal interchange chords in major:

lmaj7 1-7 lmaj7 1-7

�►
. Fmaj7
Z:2
---
�- et
!
F-7

0rr
� !2.
Fmaj7
Z2
..::::
1:r
F-7

et e·rrr11b "
�

¡
f/

lmaj7 bll lmaj7 lmaj7 bl l lmaj7

Fmaj7 Abmaj7 Fmaj7

;,
Abma j7 , ,.
Z2 .:::::
Jtr et r'2� r r �
�
J:r e! t't ftf)

The available tensions for modal interchange chords are the same as listed in
their minor key context.

' •. ·
 Harmony 2 46

RELATED 11-7 CHORDS

The full cadence is represented by the progression of subdominant to

dominant to tonic chords:

f I
... -
-e- s
...,
.) �
• ...

.....
. ....-. --
\.
o

The most common variation of the full cadence has strong root motion of
perf ect fifths throughout:

'
,Y
�
-
� u
• � � 3
•.

-. .. 1

-v

Justas an arrow is used to show the perfect fifth root motion between the
dominant chord and its chord of resolution, the relationship between the
' 11-7 and the dominant V7 is so strong as to require recognition. A salid
j
bracket beneath the 11¡7 V,7 is used to show the perfect fifthroot motion:

JC-7
(;-1T
y '7
c:1r
-----rF-aj .,
"'4&j7
1;,:,f g g !o ll
'

: .. ·.•
. ·.:,,._;�:·:·-:' ·:
 Harmony 2 47

The above progression is· all diatonic; 11-7, down a perfect fifth to V7, down
a perfect fifth to l. This 11,7 V17 relationship is so strong that ANY
1 •. DOMINANT CHORO MAY BE PRECEDED BY ITS RELATED 11-7 CHORO.

·Í

Ab-7
1
Ob7
1
Ob-7
1
Gb7
1
F�-7 B7 B-7 E7 E-7 A7
L.-....J L.-.-' L--1

The related 11-7 chord-of sorne secondary dominants will also be diatonic.
Such diatonic minar seventh chords have DUAL FUNCTION.

¡ Jir-? �� --- Jr-"1 �'? ---r(,))

F(T
A-,7 er-
1d 1J 1
�'!'

9:, � �� �

'T
.-.!r- �.,---- L,..t¡1
�5� �A, ,) 0�1
1�1�
��
�
•.J

G"¡ G�1 F�i"

j
' (.,"f

_, �
.:.--;
11 .J J I J J 1g �-
" 11
The diatonic analysis and the bracket show the dual function. The available
tensions for dual function chords (111-7, Vl-7, Vll-7(b5)) are usually
diatonic.

Other related 11-7 chords which are not diatonic have available tensions
f rom the key of the moment:

1 Ll 1

( �) = II -7 in . A

. :_::·.•=-:::::::.,:�:,.::::,,,.,,,:,:,:•<·-•,-::. •.·::;-;:,.: ::.: .:.':-. :-: ::- .: ,::,•::,·::;::,._.,:,::;:;::.:::_,:,.::::. ! ·,,::.,.::::·:/i\:/ ... -:, _: .
. -· • ···-·�-•.···•-·· .. ,"••---·--- • . . • -- • ·:··· . --···-t··:--•·,1:-....
. ---· ----.... ... .... .- .
 Harmony 2 48

l
The , , relation may appear as·11�7(b5) V7tb9) (as in harmonic minar):

!J:.-'t(!») �1(�11) ----... L.aj'T' I6

t,{�1) pf>
1 � aT 'r 1 ° - t,,
�11�!) F-,j -r
@1 J JJ J il
lndeed, any of the following variations to the ....__
, , may occur without
changing the dominant function of the V7 chord:

1 11

. -. ll 11

-:. __ :
. •-• ' � -:::. ..... ·-·�--•---•--·- -· - ., . . .. ·• . . --- . ···-·· -� .
 Harmon-{2 49

Harmonic rhythm directly affécts the ···'---.J relationship. With the inclusion
of a dominant chord's related 11-7 , harmonic activity is increased without
deterring from the dominant resolution_ The harmonic rhythm of the L-.J
may be even:

�r Mf , , 1 , , , , 1 , e
7 r ¡ i L 7 '
,
I
,
Z•
•, 11
=w
n:�f
L _�_ C l22
l 1 rs,, � 11
: r Z2 r7 ::

or the 11-7 may appear for longer duration than the dominant

s
__...
t-7 F? 8b
�:,2 r7 r7 r7
w
1 z: r
7 7

.s
l�z r
..,
7
1f r
"7

G 'z
s
•7
r.
"'
11
�:�1 j3 � .: 1 Sw' r zz r' ,7
s ..,
11
or, 1ess often, the dominant chord may appear f or longer duration than the
11-7:

A -1' nT� G
,,1,,
rr:rrrr
) 7
1, � $
:' l ¡1
.V
,
� 1
\J s fJ s $

s
 '

.1 Harmony 2 50
.,

Therefore, the 11-7 wi11 appear on a strong stress, the V7 on a weaker

stress, and the resolution will be to a strong stress.

A '---' may repeat prior to progressing:

Line cliches commonly occur with

v,
a ll�:

':'t
�----. - ,.
T"\-
�, ��-T

... ,
11
·j...

Related 11-7 chords of extended dominants may be either the chord of

reso 1 ut ion:
,....----_... G-;1 ...- •
A¡1 t2;r C,'1

1 1o
1

;!: C2
c:2
7f'

7 ..---

1��
F�11 P
�s ---ét7 ?

1 0
1� ,
,
1
or, they will be INTERPOLATED prior to the chord of resolutioo (the extended
V7):

J J 1 .l J I J J I J J 1 -
.J
1
ft
 Harmony 2 51

BLUES
Blues harmonies have their basis in early American church music. The
primary cadence used in hymns or the Protestant church has been subdominant
(with dominant cadence being of less importance). Subdominant cadence is
traditionally called "plagal cadence":

,,
IV
Bb F
€
* 11
Typical of plagal cadence is the sound of "A-men", used following most hymns:

(• �
,_,
�
"A-------- - - - men. .
( ?••
/ "'
V

Thus, the primary chords found in blues are the I and IV chords (and
occasiona l ly the V7 chord).

The basíc scale used for blues melodies is a pentatonic (5 note) scale, but
NOT the major pentatonic scale. The blues scale is NOT diatonic to the
harmonies:

+• a ba
b3
�

4
a
5
va
b7
� !,a a
b7 5
6

4
&a
b3
a

-
.. · - · - ··--- . ..
 Harmony 2 52

The above blues scale (scale degrees 1, b3, 4, 5, b7, 1) can be seen as a minor··­
pentatonic scale. The important characteristic of the blues scale is its
ex_�lusion of any half steps and the. relationships it creates with the majar
key harmonies; the seale degrees b3 ·and b7 being the basis for the minar
pentatonic scale create an unusual sound when supported by the major key
harmonies. This melodic relationship results in what is called "blues notes":

When the blues melodic pitches are superimposed over the basic harmonic
structures, the extensions for the seventh degrees of the fundamental chords
can be added:

1,J.
!I
The I and IV triads therefore become 17 and I V7 respectively:

F7 Bb7

�s 1
¡7� ¡ 1
1-
The basic available tensions for the primary chords are those which appear
melodically:

F7(.:t9) Bb7(9)

1 b7 5 S4 Jl9 -� b7 51 9
11

Harmony 2 53

An exception to the previous observations regarding available tensions should

be noted in the case of the 17( .# 9) chord in blues. Though b9 and .::-g normally
may coexist, b9 should not be used with .1r9 en the 17 in blues since it is not
part of the blues scale.

The blues form has its origins in the poetic form used for the improvisation
of iyr1cs. The lyrical content of blues is based on a "rhymed couplet· with the
first line of the couplet repeated (to allow for additional time to improvise
the second l ine ). The rhythm of the lyrics can be notated as �otte9 quarter,
eighth notes with five stressed pulsations (this lyrical rhythm is known as
"iambic pentameter"):

By studying the stress placement of the me lody and lyrics, it can be noted
what the overall form wi l l be:

Sung lyrics - First couplet 1 ine ___ _

-
Sung lyrics - Repeated first line __ _

Sung lyrics - Second couplet líne __ _

The above wi 11 therefore be a 12 measure f orm (also known as· 12 bar blues") .

•.<·. -
 Harmony 2 54

The placement of the primary chords follows a logical sequence: the 17 chord
receives the most stress; it will also be cadenced to 7·rom the IV7 chord. In
order to have a variance during the repeating of the first line of the couplet,
the IV7 chord is used with a cadence to 17; the finai line of the couplet
contains the final cadence:

► 1, o i r · y r · ¡,¡, 1 ª 1 - i
� First couplet line ____________ Strum ___________ _

.1 ,
•·
t. ,, !
¡,z a
F7
-
First couplet line repeated (lyrics and melody) Strum _________ _

r· o
Bb7 F7

1� ; · &f j. Jl I 1,J. �.P 1 ª ! w

Second couplet line with cadence _____ Strum ___________ _
il
_ ,;.

1 t should be noted that al 1 the lyrica\ c.ontent of a fundamental blues, as the

one above, is within the first 2 measures of each 4 measure phrase; the
remaining 2 measures begins with a cadence and the chordal content is the 17
chord. Since blues was most often perf ormed by a soloist, accompanying
himselflherself, the last 2 measures of each 4 measure phrase carne to be
known as the "strum", for obvious reasons.
 Harrnony 2 55

The next higher level of complexity would be for blues harmonies to contain
dominant motion. This action would then mcorporate diatonic sounds from
majar key harmony.

17
F7
w

?2
-
� 17
Bb7

f
f
F7

o
-
IV7 V7 l7

-
----------
Bb7 C7 F7

11
Dom i nant cadence

The basic olues melodic scale has become more complex also; it now contains
chromatic motion between the 4th and 5th scale degrees - b5 or -=4. The
contemporary blues notes are b3, b5 (#4), b7:

'p Z2 l2
Z2
b3
�

4
�-
z4
�

5
bz-i
b7
,61- b�
b7
Z.2

5
s.
b5
,9

4
iiz:i
b3
�

.. ··-· .... ___.,__,.,,"'1"""_,,.,_�"".

-
.�....-:···�·.
 Harmony 2 56

J AVAILABLE TENSIONS - BASIC BLUES

The avaíiable tensions for the three basic blues chords are those from the
extended structures which meet the ·previous criteria: diatonic to the blues
scale and either a 9th, ora J'l"9th aran allowable b9th above a chord tone:

Optional Structure
Normal blues with diatonic major key
Chord: structure: tensions:

17 17 (-1l"9) 17 c:g, 13) OR 17 (9, 13)

IV7 1 V7 (9) IV7 (9, 13) .,;Ir\:_,

V7 V7 ( zg) V7 (b9, #9, b 13) OR V7 (9, 13)

(Any diatonic chords or secondary dominants from major key. harmonies will
have availab le tensions from their majar key context.)

-
.
' :. . .. . .· .· .
. ... ..
·•:•.•, :-· ..
.
,,: •.... ,,:>•:\��·:-::·• ...:.:,__,• ·'.,_:, .. •:-.•,•,

. �-. . - . . .
. -- ' � � ,/.
. ·:.�- .
 Harmony 2 57

BLUES VARIATIONS
..,
·; There is one important charact.eristic which can be seen in all blues: the
1
placement of the primary chords within the 12 measure form:

,� Tonic

First couplet line _____________ Strum _________ _

Subdominant Tonic

First couplet line repeated _________ Strum __________ _

Cadence _______________ _ Tonic

Second couplet line _____________ Strum _________ _

Variations to blues demonstrate this pattern in two different ways:

1) Harmonic motion -rrom and back to the primary chord in each

área of the form, and/or

2) Harmonic motion to the next primary chord.

L·
,.
 Harmony 2 58

_J Thus, a tonic chord wi11 appear in the f irst measure; any subsequent harmonic
activity in the first 4 measure phrase will be back to a tonic chord and/or
] motion to the s_ubdominant chord which wi 11 appear in measure 5:
.)

Tonic
F7 Bb7 F7 A-7(b5)

2 3 4
Subdom inant
Bb7

5 6 7 8
.,
-.___,

9 11 12 J
In the above example, there is a subdominant cadence back to the prirnary
chord (tonic) frorn measure 2 to 3; measure 4 contains a commonly used blues
chord which approaches the_lV7 chord. The lll-7(b5) chord can be identified
as an upper structure of the 19 chord (which may also be seen as the -
secondar¡ dominant of IV7 [V7/!V] ):

17 or
V1/Í lll-7(b5)
V

A-7(b5)

l
_;;

.,
·!
1
!
'

Harmony 2 59

Measures 5 and 6 will start with the subdominant and contain motion back to
subdominant and/or have movement to tonic in measure 7:

Tonic
F7 8b7 F7 A-7(b5)
,, ,,
2 3 4
Sub-dominan t
Bb7 F7 Bb7
>-< •,r(

5 6 7 8

¡:¡:,1 �=============:¡=, o ============,=1==========:¡1=2==========j:::;;: -�

The B º 7 occurring in measure 6 is another commonly found blues _chor-d. The
#IV º 7 chord is an approach chord to I from IV; most often the resolution of
its root is chrornatic and therefore the 17 chord appears inverted:

Bb7 8 º7 Fy
C
5:,@ j Q6'1 1J
 Harmony 2 60

.! Measures 7 and 8 start with the tonic and either move ba-ck to tonic and/or
have motion to cadence chords in measures 9 and 1 O. The cadential motion
may be either dominant, subdom;nant, and/or modal interchange cadence
chords borrowed from 7inor:

Tonic
F7 8b7 F7 A-7(b5)
,."' ,... ..• ,.• •"' ,.• ,.• ,.• ,."' ,... ,... ..
,. '? .,. .. ,."' ,.•

,�
�� 2 3 4

---
Subdominant Tonic
Sb7 F7 Bb7 B º7
,�Jíe Bb7 F7 07

..• ,."' ,.• ,.• ,."' ,.

,t.
,... ,... .... .."' • •"'
,t!
,.� ,... .."' •..
5 ó ..,
1 8 .,,..·:_,,

Cadence _______________ Tonic

G-7 C7 Bb7 Eb7 F7
,< ►' >< Id ,< ,.,
9 10 11 12

The above cadential motion contains dominant (C7 - V7), subdorninant (Bb7 -
IV7), anda non-dominant chord borrowed from natural minor (Eb7 - bV!l7) .

. i

-1

_..;l

.,�-¡
_ ...'�.•:•. · ... ....¡.;.•,•.•:•.·.·,
:
: .
. . >
 Harmony 2 61

Sihce measures l l and 12 begin with the tonic and the first measure is also
tonic, any harmonic motion here will be back to tonic:

,�
Tonic
F7 Bb7 F7 A-7(b5)
> > • >d •«
>1 ► >e ►,e <
p >< >< . e ►
< •• >e
ti 1 2 ..,A
5ub-dominant Tortic

:�
Bb7 F7 8b7 8 º 7 FJ' Bb7 F7 07
c
>< • f
>
(
> ► p
:< p
1 • ,e
> •-< •< •< •< >< •<
5 6 7 8
Cadence _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Ton í e

J,�·
G-7 C7 Bb7 Eb7 F7 07 G7 C7
1 .1 p -◄ p > ►- ◄ p ►,e .- ►e ><

g 10 11 12

Another contemporary blues chord (also found in rnajor key harrnonies) has its
basis in subdorninant cadence. In the fol\owing blues progressíon there
appears a IV of the I chord and a IV/IV ( 1 V of the l V chord):

'
,,.
1 IV 1 1 IV
e e
1

G G G G
.. > • >f ,e• .. p ►.. .. > >
. ..-.. p • p .. p« .. e

IV IY¡
V IV 1 IV ¡
e e G e
.. ,..
G
..
F

1* > > p "' p >1 p -< > • • 1 •< •e • p >,:

IV 1 '1/ív IV V7 IV 1
e F eD7
....-
--G e
1* ,. "' •,< • p• • ..
' -e: p .. > •< < , 1
>1 •e • C

11

--· .. - - . .. -· ..... -··-•···-· _··- .....

.
_. _, ··. ·---·- .--·--
-
·- . ., - ___,, .....• ··--- .. --- __ ...,..,___,,,__ - --- ---··-
.... ·---�--- ·-···· .. -.
 - -l
Harmony 2 62

-·:
In a more complex situation, the same chord (IV/IV) would be analyzed as
bVII:
''
)
:.J 17 IV7 bVll7 17 111-7(b5)
G7 (7 F7 G7 B-7(b5)
.. .. . 1· .... ..•• ... . ...
@* IV7
....
bVll7
•

17
.. • .,. ..
VJí
1 ---------
C7 F7 G7 E7

1' .. • .,. • •• ,.. ..• •• ..• o:: .... • . .. .

o: "' •"'

' 1-7 V7 bVll7 17

--....A-7
D7 F7 G7

1� . .
• •.. "' .."' .... • ,"
,(. .. ..' .."" '
.. ,(. .
7' 7' .
.. ,,:
11 .. ;
_,...._:;

The following chart includes examples of blues progressions. The 12 measure

form and p lacement of the primary chords adheres to the previous
requirements. Note that sorne of the examples use blues chords only, sorne
use majar key harmonies and sorne use minar key harmcnies.

·---· ........ .
 Harmony 2 63

i ,. . 1 14•• ! s ¡
SU800MINANT TONIC CADENCE- - - - TONIC

1
TONIC
;J:
2
� r.
3
7.

6
r.
1
7 8
Y.
9 10 11
!,•.

12
11
F7 8b7 F7 Bb7 Eb7
�:f .. • .,. .. .. ."' ►' ..'.. 7!' .. . ..• •

2 3 4 s 6

!9 ... ... .. . ..
F7 D7 G-7 C7 Bb7 F7 Bb7

7
:,,
1
8
• .. " ..
•

9
-•:,i .. ..
10
'
11
.. .. ..
12
.... '.,,.
,,
F-7 Bb-7
. ••.. "
F-7 F7 Bb-7 C7(b9)
... . ... .. . .. •
..
4
.. ,. ... •• • ,. • • .-·. ,
!):� " '
• • •

'
2 3 5 6

1.
F-7 Abmaj7 6-7(b5) F-7 Bb-7

i
C7(•9)

!f .. " "' •,: • •,: • " • • • .. •••,: "' '.. .

•' "''"'
7 8 9 10 11 12

i ...... ...,. i ..... ... ..

E-7 A7 D-7 67 C7 F7

1
Fmaj7 Bbmaj7 Bb-6

!):�
• "' ' .. .. .. ,. .. -.e·
1
•"'.. .... ..
6
� 11

2 3 4 5

.. .. 1: ,; .•,.
A-7 D7 G7 C7 Fmai7 6-7 A-7 Bb--7

1� • • ... •
-
Fmaj7 Bb7 Eb7
.., ! 10 •" . .. 1 • ,......
�]
..C• .:

11
111 ..

7 a 9 12

1 ..Br... 1
67
..•• ..' 1 ..... ..
D7

¡ !
F7 E7 A7 C7 F7 8 Eb7
•'
�-�
••• ..•• ••
�:�
• •J ••

2 3 4 5 6
Eb7 C7

:J
6-

., 1. 1 .. ..... 1 ...,. ....

J-c

1
F7 D7 Db F7 Eb7

12
Gb
• .111...
:Jlll'::11'
1
1 . ..• '
...,. .. ,. :i, ,, '1 , "•, • • • "
8 9 10 11 12

F7 F7 F7

') p .,... . •..¡ ..'

F7 Bb7 Eb7 8b7 Eb7 8b7
:.
•i-• ¡ 2
p »·»·►•
3
>► ►p
4
e

5
► >• ►•
6
•o •
••

F7 Bb7 F7 Bb7 Eb7 Bb7 tb7 A-7 D7 6-7 7(sus4

8 g ;o 1i 12·
 Harmony 2 64

. ;
._j SU8DOMINANT TONIC CADENCE- - - - TONIC

¡ 2
,.,' r. •
3
! (
1 ,.•<

-7 8
>',
9
!
F6 G-7 A-7 6-7 Fmai7 Abma i7 Bb6 Bb-6
4 5 6 )0 11 12

j
•d•< ►'• •�•< ¿ ,t •<•< ;. d . . • ••
d <

,�
2 3 4 5
A-7 D7(•9) 6-7(b5) C7(•9.b9) F6 A-7(b5)
<•<•<><
¡
'
. • ◄,,, p ►>►►
'<f • ►'► • e pp ,<,<

7 8 9 10 11

Bb7 C7 Hmaj7) Dbmai7 Bb-<ma l Bb-7 Bb-6

r
i. .
!j F-6
>,¡,. >< e 1

=·
► 1
i�
F > ��
2
> ,. ,.•..,• 13
v;, ••" i
4
,.
:,1111 ..
s 6
.., p �

Abmaj7 G7 C7 Gbmai7

IP • . . •
ª

i
8b-6
<
D9

7 8
•••• •' .. 1
9
, ,.. .. <

10
• ., •
i F�: i::'
11 12
• •"" ,'
�

F7 Bb7 Bo7 A-7(b5) Bb-7 Eb7

'f� ,..,.� ... t d< •<;
1
Fyc
>,,,.,,,> < • ► >•
!s
8��
�.
ª

1
,�« p•p<

3 4
d

1
p<p • • $½!

2 6
_ Abma Dbma 7 C7 Eb7 G-7 Bb--7

p1
D7 67
r �
F7

1 1
C7
• •-"•"
► •• 1
• ... ,.. •
! 1
,.::So' •"•" '
9 "P' ,s.<

10
• p

7 8 9 11 12

F7 A-7(b5) Bb7 60 7 F7(sus4) F7 A-7(bS) Bb7 Gbma:7

:¡

2
1 >►p•
3
¡
•

4
p< ,
e
!5
e< e< 1 ,. « 1
6

C7(sus4)

1� ! •�" 1 ,�•,d.✓ ! . ¡ ... ...; ! . .. ..�.. . 1

F7 Eb7 Abmaj7 Dbma i7 8b7(sus4) F Abmai7 Obmaj7 6bmai7 �
,'-· ' > •" > ,. •..
12
p ,,,,

8 - 9 10 11

F F Eb Bb �b7
'<
F F7 Eb

l
Bb Bb �b

�:� ,.
1
.. 111 .. •
2
,,,, •""
3
71, ,....

4
",.,, ,.,11111:

5
,....' _.JII

1
6
,.,.. ....,"

F Eb Eb7 F

1� i .
F 8b Bb 8b
i ..• •
:lb b

..• ' • .-s-.:: , , .. '' '

' ,�',
�
::,,S. 1111'::•IIIIIC

9
:,illlí,-,-__ ,< 111 .. �,, �,

7 6 10 11 12
. 1

HARMONY 3
1

by Barrie Nettles

Berklee
COLLEGE OF MUSIC

-
.. :,:_:·· : �-- . . . . .• . . . . .
·. : .'· : •'.· -:-·· . . .· - :-.: :.. ;.;: ··. . .. ,,: :- •,•.-.-::_ -._.: ;,.:

. ,.. ····-··.··•·. -·.···· .. --�-- . J

 HARMONY 3
7

-•

·,
,j
SUBSJIIUTE DOMINANT CHOROS
The characteristic of dom1nant chord sound can be attributed to the tri tone
which exists ·between the third ·and seventh of the dominant chord:
G-7

The quality of the tritone remains unaffected even if 1nverted:

G-7

(-cr
¿t
�-#- �-

. '
-1
1
Therefore,· the above tri tone may be notated as either an aug. 4th or a dim.
5th (as 1n the above two examples). Thus, the same tritone may be notated
enharmonical ly to produce another +4th tritone which inverts to another
"5th tritone. Though the tritones involved appear different, they all contain
the same sound (tritone = J who1e steps):

o- -
) -u-
...

-:
--

.,�
. .. - ... . . . .
- ··"
. � ..
,,..;
.. .- .• <:,,· ...:::,: .· ,:_:•:.·. •• '• • . : • ·....:.. - ..•.•
' . .. .
·.• .•.• .
 HARMONY 3 2
: .¡

Since the dominant chord quahty requires the tritone to represent chord
---tones three and seven, the root must be present f or a complete chord sound:

[Y'1
• hg p
IJ -0-3
¡

:s, o

The resulting two dominant chords conta1n the same tritone and may
therefore function s1milarly. The context in which either chord appears
determines the function.

The ctominant chord and lts substttute domtnant chord share the same
tritone and their roots are a tritone apart. (These chords are also known as
·trftone substttute· chords.)

The substitute dominant for V7/I is subV7/I. Just as th-e expected

resolut!on of V7 /I resolvlng to I requíres an arrow {showlng the actual
resolution), the resolutlon of the subV7 has a speclal analysls, a dotted
arrow.

:r sub'JZ7 I
obr-�c
]!7

·51 G-7� �
<t
o �º zz

A SOLID ARROW INDICATES DOMJNANT RESOLUTJON DOWN A PERFECT FIFTH: A

DOTTED ARROW INDICATES DOMINANT RESOLUTION DOWN A HALF STEP,

&r->- F#
'rS& ·
(j-7�C pb7 --.. (¡-t' �7-�>-c
. §t F'�, :;9: f'1'
º
:i· !!9' :¡
·'�l
:Os ,
-y
=)6'

-
. . .... ·-----· - ., .......
 HARMONY 3 3

The pr1mary dominant and secondary dominants- are chords which have an
expected resolut1on down a perfect flfth. The expected resolution for
subst !tute dominants is down· a half step. The substitute secondary
dominant cnords are subV7/ll , subV7/IV, subV7/V:

.svb.YJ.tr -:I.·1
C: é 7··�D -7
§1 b jo ·�:
(' 0

One characteristic of substitute dominant chords is that their roots are .oQ.t
d1aton!c. <The prlrnary and secondary dom1nant chords have d1aton1c rootsJ
IV7 also has a dlatonic root. lt rarely sounds as though its funct1on wlll be
as a substitute dom1nant (though it may resolve down a half step to 111:-7) . ...::_.
" ; .

.,
bv11Ts funct1on as a modal interchange chord is more common than the
' ·1
poss1bil1ty of a subV7/VI function.
-ti�J -

.. . ;

In unusual sltuatlons (most often dlctated by harmonlc mythrn) subV7 /I I I

and subV7 /Vt may occur, but V7 /IV Is neyer subV7/YI l.

. '

!'-;1
{j:•: · .. . . · . .· . '· . ' ·- · . ·-·
.. --- ____ , - :·· -�··· .
 HARMONY 3 4

Substitute dominant motion is also common to contemporary minor key

chord progress ions:

.s116 Y'l.ÍT II-7(1:S) .5flb'J!" 7

- -;.
AP1 .. - - .. � G--7(HJ c;¡,1.... -
.J
,...._7 ,..._
r-- ,
�p�Pc �.� ,,, l
•- :
61

1,.
: i •: -·
l: ,1
,\ 4
- 12

-· - -
C-J(bs) ¡-7(M) E; - {f 7

)[F •· í j

- 11

Í'
 HARMONY· 3 _ S

RELATED 11-7 CHOROS - SUBSJITUTE DOMINANTS

Any dorninant chord rnay be preceded by its related 11-7. The related 11-7
chords of the secondary domin_ants are d1atonic except the relat_ed 11-7 of
V7 /I I I, which has a non :... diatonic roo t. However, the related ·¡ 1-7's of
substitute dominants are .D.QO.-diatonical ly rooted. Therefore, sine e the
related 11-7 chOrds of the substitute dominants cannot have dual function,
they will be analyzed in terms of their relationsh1ps with substitute
dominant chords; the � relationship.

í
.. ,
r,
..., , ' ------
Ab-

6' :o rz

V o

With the inclusion of the related 11-7 chords for both primary or secondary
domlnants and their substitute dominants, a four-way chordal relationship
can exist:
1[-7 J!7 S(.J/)'f1 -r--

,4h-1 pb7- -- ---).._;,-

()-7 G,7� e, �
@l o ¡ C)
: § ¡,,;
!
pr 22

]I_-1
0°-r -- ->
subr:7 e"7"
AD· I
1 �
1Z' 7
G- '7----). e
---

D·7
V' 0 �6 l1
!: �I
&J 72 !i
The related I r-7's of the primary or secondary dominants may progress
normally:

Imaj1
G-7
Y/iil Jib IiJ..· 7 Jl[-7 �m: p(sus'i) 'I[-1 y1
or-�G 7(!w:;)
-
C7�;:-é A-7 0-1 G- 7�
Cmci:i7 ·--· ¡:-- 7
� �

S· U 0
1
· ll
{)
/1
tt 1º o
•e
; rll
l ____\L__J
,,,. '

-
·--- ______ _,,_ -.......-� ··-· ... ,,._ _, ... ., ....... -··
 HARMONY 3 6

The related I1-7's of the substitute dominants may-progress normally:

. Stt.5Ffír?" Iffb
[>f,'-7 (;-br�_._,""
Cmaj7 �-· r

9
1
I:� º .po. i,,, , ba o

QR, any of the above 11-7 chords may progress down a halr steD to the
subst1tute for Hs domlnant chord. S1nce the root mot1on from the 11-7 to
the dominant w1ll be down a half steo. the analysls symbol used is a dotted
bracket
.f//,;J:lft: 9& JZZ:·7 .s¿,,'1I¼!" 'J:7{fv.s:;) rr-7 .sv/,JI7
:z"":,: 7
c¡.-1 Gbi-··>- e, A-1 AP 1.-->-f!7(s,.15:.;) D-7 ¡j,7-->
Cmaj 7 ,_ ____ J ' ...,

L Szi
l, _____ .J :.,. ___ J

g: 1::
j
Z2 1 '
V

OR:
Irn:,j7 l!P- ]I-7 F� y7(sr,, ¡;) Y7
Bb-? A? -;..!) - 7 [b-7 !) 7--,,.__G 7(S:J5 if) ,A),-7 (; 7 --j,..
(ma_j 7 i_ ____ .J L.---.J '-----'

5: 11; 21 ¡�; l2 ¡ ¡ 1
o ¡ V: e: !¡1
·?

A solid arrow or bracket índícates root motion down a perfect f ifth:

,___,--;l.
� '-----'--:,l.

'O
i:2
o a f? :; :H
A dotted arrow or bracket índlcates root motion down a ha)f step:

i '
i_ ____ ., .... -�

¡ 0 'º o O :;)O
j
 HARMONY 3 7

AVAILABLE TENSIONS-SUBST)JUTE DOHINANTS

lnasmuch as subst1tute dominant chords are not diatonic structures, their
extended structures do n.ot requ1re a d1atonic orientat Ion. The tenslons
ava1lable on any substitute dominant are the pltches a major ninth above any
chord tone (whether diatonic to the key or non

subF1 subV7IN suhV�

C:1 ob1
1
suiiY'½r
d1 -
l..,
J
(;-b1
I
Ab7
,
,
j
.--
,
� "
�1
1
,-:--o , -

!
?$
:9: '��
¡ bt-f 91 �:� 91 '$
:9:
i
�

j '
.....__ .,

l{
all cases, it should be noted that the tension z 11 on a substitute
/1
º
�ominant represents the root or the original chord of der1vation (the
rimary dominant or secondary dorninant).
- _,;.r ft
Al) subst1tute domJnant chords have ava1lable tens1ons 9, • 1 J,
and 13.

1 f the extended structure of the subst 1 tute dom inant is supported by the
root of the respective original prlrnary or secondary dorninant chord, an
altemative to the normal avai Jable tensions ror the pr1mary or secondary
dominant chords may be f ound:
subF'l.ÍI subV!� sub��

, - GP7/c ba.ss /r /o
¡

--
1 bass
¡

¡:,P 3/A bas.s

-- �
1
JJ

, -
"
� IJ
r,
:
◄ :
i :.--=-
-�- 1,P¾
L�-tr �� �
·-
,-/
I
'
IJ

-'. .�
1-
-,

.f
J
 HARMONY 3 8

-··
) V7 /I normally has av?_ilable tensions 9 and 13; it may optionally use
/ tensions bg, #9, bs, and O 13:
r7fattJ
\�
/ e� _r7
G7 G 1(a!f J
' /,.
/J
. -
'
1
1
r-
-tr
,/

'·"-
\�
¡"
\,,[
v�1:. __,,.,
-
- -�
J,q

Any dominant chord with the above alterations (altered 9, 5, 13) is notat.ec�_::_...,
as "altered", abbreviated as (alt). (Although not universally used, thís
abbrevíat ion ís general ly understood.)

Although V7/IV normally has available tensions 9 and 13, it may optíonally·
use the altered tensíons:

e� ][m[
7

e1 C7(aLt
:e- �
6 1

�-�w
w ·-
¡ ....... -7

l;91 l,ff ks
/,,¡

V7 /V normally has avallable tenstons 9 Calternatlvely, bg, �9) and 13; tt

may optlonally use the rematntng altered tenstons:

C: y�
j) 7 {q)

-
- -
• ,..,__ . • 4
�- _,- --. • ·-- �
 ·-
.' -·-·

HARMONY 3 9

V7/II normally has available tensions 9 (alternatively, bg, =9) and b13; ít
may optionally use the remaining altered tensions:
../&-7¿
fl'/�
-A�(b,f;
�;;
; "

i • i
1,,.3 1

l¾-e-
1

151 u 'O

lf the optíon of altered tensions is used, the chord symbol MUST reflect that
option.

The available tensions for the related 11-7 chords of substitute dominants
are drawn rrom the key in whlch the chord is the diatonic 11- 7:

1
'.
., . .-� .-
1
'
l J
·-T?---,¡
"
II-7 in C b
b
II-7 in A

. --
I : : -
¡;- ...,
' #

D-7 '
d
-

1
J b
1
1
II-7 in ,Db II-7 in G
◄
1
- ¿ F , - ·- .,

L.:.-
._:,.· ··- ·• .· .
 · HARMONY 3 1O

- 1hough the primary and secondary dominants and their respect íve subst1tute
dominants are subst itutes f or each other, the same is not true f or the
related 11-7 chords. By comparin,g ttie available pitches for both kinds of
11-7 chords, 1t can be seen that t_otal ly different available note options are
produced:

D-7 as related 11-7 of V7(G7)

Avaílable to D-7:

1 5 11

. 1
Chromatic scale: (b o ;o (qla ,: V ?�o')
i; Z2
J
1 1
11 1 5

Available to Ab -7:
 ...,
.
HARMONY 3 l l

Summary of available tensions: primary dominant, secondary dominants,

subst1tute domlnants and related 11-7 chords.
.i

Available Opt1onal
Chord: tens1ons: tensions:
-·
: ·,

V7/I 9, 13 (a lt)
subV7 /I 9, •11, 13
V7/II 9, b 13 bg, • 9, b 1 3 or ( a I t}

subV7 /l l 9, .., l 1, 13
bg zg b ¡3 ·-·>
V7 /II I , J (alt)
V7/IV 9, 13 (alt)
subV7/lV 9, ... 11,13
:l
;�
., V7/V 9, 13 b9, •g, 13 or (alt)
.
:--,:1 V7/VI bg > :t9 b13
> (alt)
.•'.j
,J

,·¡,
.J
:11
Related 11-7:
:·1
-·:
of V7/I 9, l 1
-
., 1 1 ( as 111-7) 9, 11 (as related 11-7)
�
j of V7/III 9, 11 11, b¡3 [as •1v-7( b S>l
-�
• <
of V7/IV 9, 11
·t1
.j
of V7/V 9, 11
.·;i
'�
of V7/VI -5..DJ� 1 1, b 13 [as VI 1-7<º5)] 9, 11 (as relatea 11-7)
of all subV7's 9, 11
·11
;'Jl
,-j

-:'�

..,
.J

-· ..... -
 HARMONY 3 !2

EXTENDED SUBSTITUTE DOMINANTS

Extended dominants are dominant chords which are placed at strong stress
polnts, or withln a pattern of dominant resolution following the cycle of
fifths wlth an extended dominantas the starting point for the pattern.

The same characteristics apply when substitute dominant chords are

involved. The root motion during extended dominant mot1on follows the
cycle of fifths; the root motlon during extended substitute dominant motion
is chromatic:

lY1/1lT)
A7_.,._

Chromatic
........__ .º :; 1
-
( lrrl) J?' 7 :rmaj 7
11b1-- - ► G 1, • - - -A Gh7' - • - -)...¡:-7� 3/,,w/ 7

5• ..,1:t ba
· :�
=
Chromatic-------
:p
1
"'"
/"J V
soc;;;; J Q
a..c::....;;;;

In the first four measures of the above examples, every other chord
represents an extenóed substitute domlnant chord, whi le the remaining
chords are extended dominants though they resolve by half step:

(E.l Ima¡ 7 (Il"IJJL)

D 7� G 7---,... ,7..-----.;.. F1� _gJmt1;· 7 A7..---,...
Iº
o ...... •O· 11 1

[The same example usíng no substitute dominants.J

The decision to hear an extended dominant versus an extended substjtute

domlnant Is made by the llstener based on the functlon of the domlnant in
the key. 1 f the root of the f írst dom1nant chord in the pattern 1s djatontc. 1t
will sound llke an extended domjnant:

rr-7 rr-7
(F�1m)[Pattern]
,., -'-- begins I[1
A-7 _ p#1� 57----,._ f1� A7� o7�

In ¡
#)o
l
_f Diatonic
1
t t
. ?7 :
f j11
 HARMONY 3 13

lf the ·root of the first dominant chord in the pattern is not dlatonic, it will
sound like an extended subst1tute dom1nant:
1
1
7 I[·7
I,n,tj 7 Jl! ·
j

-, Gma_/l E· 7 A-7

12 ázz
--0--

Non-diatonic
lt should be observed that the complexit1es resulting from the inclusion of
substltute dominant cnords within a progression make that progression very
difficult to hear. This, in turn, allows for more freedom in the choice ·of
usable tensions.

Generally,
1) if movement from an extended domlnant Is QQ_l!fil a oerf ect fifth, the
fo l lowing dom inant w i 11 sound 1 lke another extended dom ínant:

-_i .

2) if movement frorn an extended domínant is .Q.Q.fill a half steo. the

following domínant wlll sound l1ke an extended substftute domfnaot:

3) íf rnovement frorn an extended substítute domínant is down a oerfect

!..illh the following dominant will sound like another substltute domjnant:

·-
'

..
. -: ·-::.:._.. •, .·.:. ,• . •,.
 HARMONY 3 14

4) 1f movement from an extended substitute:--dominant is ®.Y{[l a half steo.

the following dominant will sound like an extended dom1nant:

The available tens1ons for extended subst1tute dom1nant chords are 9, # 1 1,

13 (the same as al I subV7's).

The extended substltute domínant may be interpolated prior to the

reso lut Ion of an extended dom lnant:

l t is more common f or the subst i tute dom inant to fo 11 ow the extended

dominant (as above) than f or the substitute to appear flrst.

Related 11-7 chords may precede their respective dom inant chords (either
i.....--.J or 1.. ____ J ):

(ml
A-í 01 rb-7 ,4b-7 pn C7........----;..

.... --· _., 11

;' ,; w9
11,v �fi1 72

As is the case ror ali extended dominant motion, harmonic rhyttvn will be
increased with the inclusion of related 11-7 chords. Further, a 11-7 may
itself be the target chord of resolution.
 - HARMONY 3 15
DI ATOHIC CHORO $CALES

CHORO SCALES are used to identlfy a chord's available melodic and

harmonic pitches. Chord scales may be descrlbed as extended chord
structures, wlth tenslons and other non-chord tones displaced down an
octave to crea te a sea le.

C,nty·1f/) C Lydian

1�
J
e/

"\i ;;
-..
:/F¡/
,: /?
:¡
'/ ,, � -O·

�-,.'
.3 s 7

The above extended maj7 chord may be identified either as Cmaj7( z 11) or"'-.:__,
as a Lydían chord scale. Modal terminology (Lydian) is used to identify the··
interval relationships between adjacent pltches. Available tensions are
those non-chord tones which are a whole step above a chord tone <a major
n inth reduced by an octave).

. ,-/1:i}

I
r'
C Ionian ,._ /1J11j ( 9 /

º a ,s, n
� _,,_o e•
¡_;
. ,,

The modal name for the chord scale above is e lonian. The chord symbol
would be Cmaj7. Both the chord symbol and the chord scale refer to the
same structure, but the chord scale ls more complete. The scale shows ali
the available melod)c pitches including the fourth degree (F), whlch.- Is
avallable as a scale approach note. AVOID NOTES are avolded narmonically
but avallable melodlcally. (Note: Avotd notes are 1ndícated by f1lled in note
heads, whlle the ava1lable chord tones and tensions are written as whole
notes. Also, note that the f ourth degree of any lonlan seale 1s an avo id
note.)
 HARMONY 3 16

DIATONIC CHORDS USE DIATONIC CHORO SCALES. Available tensions

will be a wnole step- above a chord tone. Other p1tches Ca half step above a
chord tone) will be avo1d notes. (All examples f or thts topic are
ctemonstrated in e major.)
The I chord uses an lon1an chord· sea le; the fourth degree Is avoided:

Cmaj7 = Imaj7 = C Ionian

72 o Z2
-O- V o M e
J '1 13

The 11-7 chord uses a Dorlan chord scale. The sixth degree is avoided, even
though it is a whole step above the 5th, because it creates a tritone wíth
the 3rd of te chord. Thls suggests a dominant qual1ty rather than
sub dom 1 nan t.* � ()
;{/f�
D-7 = II-7 = D Dorian
V B

p
9
z¿: 0

//
�

The 111-7 chord uses a Phryg1an chord scale; the second and stxth degrees
are avolded:

E-7 = III-7 = E Phrygian

zz o.
é9
é7

//

The IV chord uses a Lydlan chord sea le; there are no avoid notes:

Fmaj7 = IVmaj7 = F Lydian

ztB
ª
� ,,,�v; l;

(;The harmonicolly avoiood 6th OOQree in the Dorian scale is the only exceptlon to the avaflability
of a non-chord tooe a whole step tlbove a choro tare.
 .....

HARMONY 3 17

The V7 chord uses a Mixolydian chord scale; the 4th degree is avoided:

$
G7 = V7 = G Mixolydian
,& o
··, o M o 22
o Z2
9 13
The VI- 7 chord uses an Aeo11an sea le; the 6th degree is avoided:

A-7 = VI-7 = A Aeolian

o --61-
0 C7
a e
�
q //

The VI 1-7( b 5) chord uses a Locr1an scale; the 2nd degree is avoided:

b b
B-7( 5) = VII-7( 5) = B Locrian
.
.,_· .
, ,6Z o -&-

For diatonic chord progressions, available tensions and other non-chord

tones wtll be dlatonic. Hence, the chord scales w1l1 be diatonic:

//

ÍÍÍmq_/7
Fmaj1

º�ª 8

//
zz - 72 .9,

¡ 6' 0
49v
;F/j
..r

13
·V
'1 /.3
il

¡·•;
�� ..

:• •·"i
··:i -

:¡: ¡.:;: ' ::.

 HARMONY 3 18

DECEPIIYE RESOLUTIONS - Y7/I

Two of the standard deceptive resolutions of the V7 chord have been seen in
dlatonic harmonic analysls. V7 of I resolving to the 111-7 or Yl-7 (both
tonic substitute chords) are comm6n examples of deceptive resolution.

t b i ,. 7T-i
;-7
F3/::::
5b1

.. : ' �¿ -•- :�
"' -,,,
-
G- 7
7f·7
f·1
F�-r
f!i1-
ff ·7
C-7

?· r?.
1 _
___

�-
I

t. 1 ;!
e
�;.
1
! � : ('.': '¿
07
i'
( 1 1 1 1

These deceptlve resolut1ons _are so common that they do n.Q1 requtre a

decept1ve resolutlon analysls (the use of parentheses). The Justlf1cat1on far
the above harmontc motlon 1s dlatonlc progresstng to d1aton1c. The
f ollow1ng decept lve resolut1ons oJ the V7 / I chord nave the same bas1s and
are analyzed w1thout parentheses, though the chords lnvolved. are.....:::_.
, : ...
non-d1atonlc.

i'/
r ¡"T:, ...
./
11
i
V7/I may resolve deceptivety to �1v-1c b s):

ií
..
1
r 1
- #
1 rr·
,V7/I may also resolve deceptlvely to the other maj7 modal lnterchange
chords.
 '!..�.t .. 1 V
.,; ,·;-·-·.•,.,..

HARMONY 3 19

V7/I to b llmaJ7:

7
.,

V7 / I to bv1 maj7:

Jr-7
F-1
,,;:-·
, e
":\

Less often, V7/I may deceptlvely resolve to bv11maJ7:

When V7 /I resol ves decept ive ly to any of the above chords, it most often
occurs at a melodlc cadence and sounds as though the progresslon wlll
eventual ly move- to ton le.
·,

1 The strongest melodlc pltches at cadence polnts are degrees I and s of the
k.ey. These two dlatonic notes have the most "finar sound melodlcally:

- -
'f : 1 r·
/
7 I ,l.
ij1bb$ • f"
1 p-

r •: fJ
;,¡ 5 " )-

¡•

. ;.·.

-. "·�-.. .. ·. �-."':···. ---?"".

 HARMONY 3 20

An examination of the available pitches for 111-7, Vl-7, #IV-7(b5), b111rnaj7,

b11maj7, bv1maJ7, and bv11maj7 shows each decepttve resolutlon of V7/I to
have scale degree 1 or 5, or tiotn, avallable.

lmaj7 t
& 72
zz
���
I 5

111-7
• e
• 61-

�p\ s

Vl-7 Zl �:__,
"9- . .
zz e
V o
��J,-e--
� s

-
/

-•IV-7(b5) zz cz.�-D-

$p�
8-
Z:! ,e
� Z2
..--,
/

% ba
�
}� b11Jmaj7 Z2 �

�►
�:�!
e
9,0
iZ2 �0
¡::z
.5 /

a 6'
zz
5 /

bv1mnj7 Ga
é9
Z2
5

.. bv11mnj7

/ s

- - ----
l

HARMONY 3 21

When V7 / I res o lves decept 1ve ly to a ma j7th chord, the progresston of ten

-
fol lows the cycle of fifths to return to tonic:
:,.,
rib7 G-�rnaj7
-
Cbmaj 7 fbmaj1 Eb
_----.., �-�---

:.

When V7/I resolves deceptively to 6 IV-7( b 5), the progression often

----- -
continues with chromatically descending motion to the tonic:

,- 1 �
-
J 1 :
! ¡
1! 1
1
¡

.
.- ..·- -
1
. -
1

-- ,,
- -
,- o �=- --,9-­

V7/I resolving deceptively to 111-7 or Vl-7 most often occurs in

progressions which are strictly diaton1c.

..
.!

,, :,.
-
.... •·•.•-•,-�,•-,, ..... . .--· . -··· ... ·-
., . ·- ·- -----,.
 HARMONY 3 22

CHORO SCALES - DOMJNANT CHORDS

Chord sea les for secondary dbmtnants ref lect their expected diatonic
resolutions. All secondary dominants are expected to resolve down a
perfect fifth. The root of the expected resolution chord will be the fourth
degree of the chord scale. The dominant chord scale wh1ch contains an
avoided fourth degree is Mixolydian, so all secondary dom1nant chord
scales are� form of H1xo1yd1an.

The chord scale used for V7/IV !s M1xolydtan; the 4th degree (the root of
the expected resolution chord) is avoided:

V7/IV
C7

i
o l:Z
J -&-
z¡ 67 13

Root of Fmaj 7

The chord scale used for V7/V is Mixolydtan; as above, the 4th degree is
avoided:

V7/V
-, D7
,¡
., n e
e #a .,
13
%7

º,., 'l 1
'9
�
\ Root of G7

The chord scale used for V7/ll is Mtxolydtan bt3; the fourth degree Is
avolded and there Is a condtttona1 avo Id note. Though b 13 !san exceptton
to th e ·maJor-nlnth-above-a-chord tone· rule (and is therefore a half step
above a chord tone), 1t an d the St_h may not normally appear simultaneously
together. Cond1t1onal avo1d notesare both enclosed 1n parentheses:

V7/II
A7
-o-

�
r º ..�,,
:¡
Root of D-7
J.,13
 HARMONY 3 23

. i
.,,;
The chord scale used for V7/III is M1xo1yd1an b9 (opt1onal1y �9), b13;
the 4th degree Is avolded, and 5 and b 13 are cond1tional avold notes:

4: �
V7 /III f ('
;

o#o �,1
J?
72 &

Root of E-7
The chord scale used for V7/VI is Mtxolyd1an bg (opt1onally �9}, b13;
the 4th degree 1s avo1ded and 5 and-b 13 are conditional avoid notes:
V7/VI
E7
r º
,f'; -¡,.
�&o

* e ,�z

Root of A-7
There are optlonal chord sea les f or the primary and secondary domínant
chords. In addition to the above chord scales, any secondary dominant chord
and the primary ctomlnant chord may have added alterations:

V7 (M1xo1yd1an) V7{b9)
(M1xo1ydfan bg, �9)
' ¿;.1(.61)
C ¡¡p O Z2p<2 • o z2 & a
( eba�o;G<
�
-6' Zl .t9
9 IJ }, ,, ;19 ¡.;

V7(alt} (altered)

(r 7(4tt)
1
'.1e �Z2 6' a
dl&oP.Pij6'
bf '" /J-, ),¡3

V7/IV and V7/V may uttlize any of the above alterattons also.

.í
·-"-

·-···-�
 ..,

: .,
, 1

HARMONY 3 24
. J
V7 / II may use any of the followlng chord scales:

V7( b 13)/11 (M1xolydtan b 13) ·v1(•9. b¡J)/11

(M1xolyd1an b g, •9, b13)

A 7(j1,)
, lº /
�) a
... -� �
a izz
,:¡ ::,13
e; · a
¡,9 .11'1

V7(alt)/I I (altered)

)
121.t
A1(
p0 a #a

V7 /I II and V7 /Vi may be elther Mtxolyd1an bg, •9. b 13 or altered:

V7( b 9, b 13)/111 (Mtxolydlan bg. •g, b 13) V7(alt)/II I (aJtered)

g1(I?) 8 7(1
ft)

@
� 7T ,9-f,V
.
//i¡
z:,
-Oia .,,)
...v . P/3
0
.,. ¡l
� -z,- -t9- � """ .
1"
.,�
,,;;,;z v.,
22 0

b'j P9 :#''/

V7( b 9, b 13)/VI (M1xolyd1an bg, 6 9, b 13) V7(aJt)/VI (altered)

(t?J
ít¡ ¡�
[7 t,7(tzié)
� & _..,. 4
_..,,
ll e;., ;r¡.cr
¡,9 i'-1
M le
�
a) ót
h�
22
-� 6' V .:ryecr
b'! .'ff
..,,,. ;JÍ.....,. ;6'
b5 PI�
V e ?Z

As a general rule, all chords with an expected resolutíon QQW.Q a oerfect

use a M!xoiydtan scale _(wtth or wtthout alterattons) Q[ an aJtered
lli..t.h
�- An domlnant chord QQt expected to resolve ÜQ,W1l a oerfect f!rth uses
a Lydjan 67. scale. Th1s dlstinctlon is the reason for oQ.t. using the term
"M1xolyqlan •4·_

- ·- ... -- .....

...:.·� - ... -.... -=-...-.,..._ ___ __

 ..
"
-- -- - ·-..

7
. !

HARMONY 3 25
---

T he Lyd1an b7 chord scale 1s used for all -subst1tute dom1nant chords

(expected re�t1on down a half step), by¡ 17 (expected resolutlon up a
whole step)�tn a major.key context (expected resolut1on down a perfect
fourth), and extended subst1tute domlnant chords (also expected to
resolve down a half step).

subV7 (Lydtan b7) subV7 /11 (Lydtan b7)

,
:2 12
v $a
bo ?.& zz it¡¡ ;,¡.3 /J
q

subV7 /IV (Lydtan b7) subV7/V (Lydtan b7)

!f 7(il11)
(;.b 7(.J/11)
,
,;,2 ;s
'º
512 'ª
�6' o ti
JO Go 72 12 ¡'
PéJ
� 9 ;:;:¡¡ /3 13

a .,,
bv117 (Lydtan b7) 1 V7 (Lyd1an b7)
1(i11) F7(F11)
� B'
hzz PO zz é9
zz � ba
/%
&
72 ,0
9 /.3

All extended subV7's (Lyd1an b7)

� 7- - - - - - - - ->-
�(1IZ)
z7 .,¡.
e
A a-o-
ai ¡ ¿;ji _, p� !
.n ; a
6'
t9 Z2
6'#-�zf6 .. 07/7 13
-_, Extended dominant Extended dominant
Mixolydian
-- - - - --�
Mixolydian
e
=. ;
Ab7------....... p)7 -
. zz 6"ba@}zoln9--� b i? -aa!" 7 ! ,
....
bV 6'
L- t__,,,.
l
,__ P ·:
22 t9.()_
V

'/ $// I.J t7 ,: -:,¡f /�

&!:tended subV subV7
Lydian b7 Lydian b7

The chord scale used for extended dom1nant chords is the same as that
used for V7 /V (expected resolut1on down a perf ect f1fth): M1xolyd1an.

_:,

·'
-.· ·•·.!'•'•'
 . - 1

HARMONY 3 26

Though a1terat1ons are posslble to all forms of M1xo1yd1an scales, the only
alterations normally available to the Lydian b7 scale occur on the substitute
dominants of 1, IV, and v. Since those chords have an expected resolution to
·- a major chord, the major third of the chord of resolution rnay occur in the
Lyd1an b_7 (•9) chord scale.as an alternative. Although 1nfrequent, :-9 on
a Lydian b7 chord 1s more 11kely to be f ound on sub V7 /1.

subV7 (Lydian b7) to lmaj7 subV7( 6 9)/I [Lydian b7(Z9)] to lmaj7

t1) .,,. -
-------- - -;:.._
DP 7(ef C
V f&
@ &af6' b 11..
-¡ &o é9 a: & ) �

11
Though bg and :-g· may no�rnally coexist, bg {s .o..Q1. available in the above
alterations to the Lydian b7 scale.

�
-·
 HARMONY 3 27

DININISHED CHORO PATTERNS

.i

7
! D1m!nished seventh chords aré most often found ln maJor keys as l!nk!ng
chords between neighbor1ng diatonic chords, or as approach chords to
diatonic chords. The most common patterns for these dirn!nished seventh
chords are:

... �
...rNJ'
,. .1

1 '
1

� approach!ng 11-7 or
1
passing to 11-7 from l(maj7) 1
.....:.... ¡
• ... -
--.
......
_.,
-il'y--..
- rr-
1
.
::rJI º 1 II[-7
� 1
- .
1
-
1

�
� , - --
, � .,..
J 1 CJ
�· ..,
- •¡¡-7 approach ing 111- 7 or
passi ng to 111-7 from 11-7

- . -• ... - -
,.
'•
1
--
1
,,

- ,_':
'1 º
Nir<,J :fJJl. 7 y7
o 1 1 J.
.
1 1
�-
.
,
. ' , �
i
•1y·7 approach1ng V7 or '
-J passing to V7 from I V(maj7) -'i
I � -- --

� - . ...
'
.

-
.... -- .. ....... ·--··--·-· .. .
 '/)
HARMONY 3 28
t::-/�-�
r Í/
-
r' q)7 rr-
7
,.d
�-
..
I ·-
-
*
;: , -
1 ! -e-- •v·7 approach i ng V 1-7 or
�::?k
;¡,rcT -&-

passi ng to Vl-7 from V7

. I

\·
,
- ....
--
- -¡,
-

... -
·-
1 ___..,

::,o,

bl.ll.:l. approaching 11-7 or

passing to 11-7 from 111-7
f

. -:_--:!.,
J
.. -

� '.o�
... Tr-7..
d ' ,..J

1 ¡
J. bY.L:.2 approaching V7 or
◄ i passing to V7 from Vl-7

' - l.

- -
. . . . . -·�·· ..
.• �. ...._ ...... _.,--·- ·--�· ..-- �-� �'. -��
 --:=maj7- HARMONY 3 29

r
-c7
�
r�
1
.,
1.:..2 as an auxi l iary to l -o>- -., - '

. ·-..
,_,, -

L
the tonic [l(maJ7)] -_

J
....
-y1-
\/ º 7 y1
-
-- -. -
I I
1._.......,.
., ,
1 l.
i Y.:J._ as an auxi I iary to
'
1 the dominant (V7)

-
,
"
- -

These examples of root motio� can be used to categorize the three different
types of dimin1shed chords:

.j
t > The ascending diminished seventh chords have root motion uo a half steo
from non-diatonic to diatonic.

2) The descending dlminished seventh chords have root motion down a

half step from non-diatonlc to dlatonic.

3) The auxillary d!mlnished seventh chords have a common root wtth the
tonlc or dominant chord respect1vely.

·.•.•--·· .
��-------------------------------
Ali d1mtAlshed seventh chords contaln two tr1tone 1ntervals. Because of )
these tritones, d1m1n1shed chords are extremely unstable, and have a clear
tendency or ·need" to resolve. Add1t1onally, all d1m1nlshed seventh chords
HARMONY 3 30

•
conta1n non-d1aton1c pttches; the. ascend1ng and descend1ng .. 9tm1n1shed
seventh chords have roots whtch are not 1n the key. ALL DIMINISHED
SEVENTH CHOROS HAVE A VERY STRONG DEMANO FOR RESOLUTIOH.
In most cases, the expected resolutton Is to a �e1ghbor1ng d1atontc chord or
. ��l��]JU.qq_t. ed_chord.
dlat '----===- ---�)
fJ
- ..
�

The ascending diminished seventh chords are derived from the secondary
dominants of their target chords and have smooth volee leading
characterist ics.
�1·7 can be seen asan inverted V7( b 9)/II:

,1
e rna I ' J)-7

•
I .,
',"._ �
. -
�
� -
-e- º1
I'" . J

j
�,!.--.9-Jsiz"7 --0--
!

.- . - - -

•w7 fs der1ved rrom an inverted V7( b 9)/III:

C: (tndj 7 (#"!
0-1 B 7(b9) E-7
I
I"
. - 1 1

r r
� �
J -i}L �..¿;L... 1 -#- � _vo-J . --zr¡
1 1
1
"1["7

LI -
. ,
1
'
'
-
-
 7

HARMONY 3 31

z¡ v·7 is derived from an inverted V7( b 9)/V:

·l
¡.

•v·7 1s derived from an inverted V7( b 9)/VI:

frra;
... ¡i-�7 G-7 E7(P,¡) A-í

�e i ii,Bo
-e-
1 �
1
•
�]
1
' 1
1
:i'JI"7
i
1

-. 1 ¡'):e ; #j J �
72 ¡
.J

· The descending diminished seventh chords are not derived from secondary
domlnant function since nelther contains the tritone of the expected
resolution chord's dominant . These two diminished chords are derived from
chromatic volee leading.
b¡ 11 ·7 is expected to resolve to 11-7:

C: E-1 f!Jº1
-
!)-7
J 1

- , - - •
JII 0 7
b
'

: .,
. !
 HARMONY 3 32

Note that bl11"7 and #11·7 are enharmonically the same chords but the
expected resolutions are different; the context in which they appear
determines the function.

S1mllarly, by¡-7 Is expected to resolve to V7 (and ls enharmonically the

same as #v· 7):

C: ;;-1 ,1bn
�
í1 (} 7

� .
,.
CJ J
--u
-

b:zr �7
. . '.. -

The tonfc and dominant chords of the key may be approached by the!r
respective aux11ary dlmln1shed seventh chords ( 1 ·7 and v·7). Like the
descend!ng d1mlnlshed chords, the aux1 lary d1m1nished seventh chords are
der1ved from chromat1c volee lead1ng and not dominant funct1on. They are
íound e1ther delay1ng the resolut1on to the target chord or creat1ng harmon!c
mot1on 1n a relattvely stat1c s1tuat1on.

1 ·7 1s the auxrnary to the ton1c chord:

G 1 �C mt1J. 7 (maj7

b-..• w

◄
8
�
Á
,,,,_
,)
r<'. s;;;;;;
1

v·7 1s the auxlllary to the domlnant chord:

-j
- j 1.,, ..
....._. ◄
 7
1
'

HARMONY 3 33

Unlike domlnant chords which have a potent1al for deceptlve -resolution,

.:1
d1minished seventh chords have an absolute expectation for resolut1on. 1T
. , IS RARE FOR A •7TH CHORO TO HAVE A DECEPTIVE RESOLUTION .
However, the ascend1ng and descend1ng dlmin1shed chords do nave alternate
chords of resolut1on. lf an alternate resolution does occur, the chromatic
root motion is stlll retalned.

1
1·7 has an expected resolution to 11-7 andan alternate resolution to ll-7's
related dominant: the V7 chord with its 5th in the bass:

bz:z
. 1 0

1
11"7 has an expected resolution to the tonic 111-7 chord andan alternate
resolution to the tonlc I chord with lts 3rd In the bass:

_¡
-,

:i.:
. .,
5:z; if :º

1
1v·7 has an expected resolut1on to the dominant chord andan alternate
.j
resolut1on to the tonlc I chord with its 5th ín the bass:

p/"7 {"�

9'z: Ji i t9

1
v•7 has an expectedresolut1on to Vl-7 andan altemate resolution to the
secondary dominant chord bu11t on the same root: V7 /11:

-
... ·--··--- -- -· ... ·-·------·�· �--···· ·····-···-· ·-·-
 HARMONY 3 34

b111·7 has an alternate resolutlon to V7/5th in the bass:

'. j

·A/")7 C6/G
') ;e �li 'e

bv1•7 has an alternate resolution to 1/Sth in the bass:

"7
tb G7/J)
9'c fo
¡
e

The auxi lary diminished chords do not have alternat ive resoluttons.

t.
t..
 HARMONY 3 35

AYAILABLE TENSIONS - DIMINISHED SEVENTH CHORDS

As was poínted out ín prev1ous topics, the tension number1ng system to 13

,,
does not work for d1mlnlshed chords stnce there is a potentlal tens1on above
each of the chord tones in the extended structures of d1min1shed seventh
chords: t1 �1
hE)
s ..
1" j
::;-

lfY i�
Therefore, the possíble tenslons in the extended structures for diminished
chords are not numbered, but simply ldentifled as Tension if available (a
majar ninth above a chord tone).

Tens1ons f or d1m1nished seventh chords can be characterized as either

dlatonic for a diatonic situation or, non-d1atonlc f or a non-d1atonic
situatlon. lf an extended structure is created with .a!.1. the tensions
available, the resulting dlminlshed chord can nQl be d1atonic to any key. The
1
_·¡

ava!lable tensions will not fit into any val id key signature:

. . . . -- ..... -.-····""""T'
 HARMONY 3 36

lf the above chord's tenslons are displaced an octave lower between each
chord tone, a scale 1s created wh1ch 1s known as a SYMMETRIC DIMINISHED
SCALE. Th1s scale 1s composed of alternating whole steps and half steps: 1
e�º'

l,,Jg
Hence, the above dimlnished seventh and 1ts ava11able tens1ons would be
found in a non-diatonlc situation. lf the target for any diminlshed seventh
chord is dlatonic, the available tens1ons must be d1aton1cally oriented.
Those resulting pitches a major n1nth above a chord tone are labeled as ·r·
(for available Tension).

The available tensions for 1"7, •11•7, b111•7, and •1v•7 in the key of e major
are:

I º7 i":ll"7 bJll"7 #N�7

�
r f z: r
r � r �- .,. r

(F1lled in note heads represent p1tches which are d1atonic, but a mjnor 9th
above a chord tone.) Since all the above diminished seventh chords contain
the same enharmonic chord tones, the potential tensions generated from the
extended structures are identical.
 HARMONY 3 37

The available tensions for #v·7 -an-d bv1·7 (which contain the same
enharmonic chord tones) in the key of C majar are:

The available tensions for #¡•7 and v·7 in the key of e major are:
 HARMONY 3 38

CHORO SCALES - DIMINISHED SEYENTH CHORDS

s:

We have already seen that the symmetr1c dtm1n1shed scale is

·' appropriate for use when a diminished seventh chord is lli2l functioning ina
diatonic situation:

/ / / /

In this scale ali non-chora tones are available tensions, andas is the case
w1th ali diminished seventh chords, the numberlng system to l 3 does not•
work. The tensions are labeled as "T" wlthoutan associated number.

Diminished seventh chords which have diatonic resolutlons, however, should

imply this diatonic orientation with the use of diatonic non-chord tones.
The resulting chord scales contain chord tones, tensions, and avoid notes:

é'()7 T
b 22
� ¡" \t.'"'��
p -f ª$

,,
�:·:\\: .-
_,
: :, :•, •.;. ·.••-·,• .·
 HARMONY 3 39

•1v·7

Gifc7
o
� ;,., ::{ �

Unlike prev1ous chord scales, the above dlm1n1shed scales appear to have no
names. However, a comparison with secondary dominant' chords reveals
identical chord scales for diminished and dominant chords.

,.r7 is expected to resolve to 11-7 V7( b 9)/II has a similar function:

in many cases:

A 7(bq)
t2? n
4 V �8
1
º!i'.
The chord sea le for ..-1 ·7 can be identified as the same sea le as V7( b 9)/ 11
starting on the root of the diminished chord. The conditional avoid_ note
situation occurr1ng for the dominant chord does not occur for the diminished
chord since the third of the d1minished chord ffiY.S1 be used.

S1nce v•7 contains the same chord tones as .. 1.7, it uses the same scale as
V7(b9)/II.

... -- .. ..
, '
.; .. • _: ····-'. ,:,:: .:.:_·· .. ..
 HARMONY 3 - 40

#11"7 is expected to resolve to 111-7: V7( b 9)/l l I has asimilar function:

37(/'l)
I
0
º ºZI
The chord scale for •11 ·7 can be identified as the same scale as
V7( b 9)/II I sta_cting_ on the root of the diminished chord. As in #1"7, there
are two avoid notes.

Since b111·7 and 1·7 contain the same chord tones as z11·7, their choró
scales can be identtfíed as the sarne scale as V7( b 9)/I II. Each starts on
the respective diminished chord's root and contains two avoíó notes:

.; 1 ·7

, r, T T
?2
O a & dt)

ii
• 1
",.j

#I v•7 also shares the same chord tones as the above three diminished
seventh chords and may therefore share the same chord scale. However,

•1 v·7 is expected to resolve to V7: V7( b 9)/V has a similar function:

�
/)7("'1)
,o l1 n "'$1 ., n 6 n &

In this case, •1v•7 may use the same scale as either V7( b 9)/III ar
V7( b 9)/V, startlng on the root of the dtmlnlshed chord.

:.�
J;,, ..·,:·· ,: . •'• .. �:.:�:•.·,.·;·::�;.-::::.:: .. : ..
 HARMONY 3 41

•1v-7( b 5) 1s a choro- functionally related to the previous passing and

approach dtmlnlshed seventh chords. lt Is also commonly found as the
related 11-7c b 5) of V7/II!:
#1F-7(6.s)
8-7(b,)
r �------..
o· '�
1

lts structure contains a b5 since that pitch is the tonic of the key. !t can
also be built as a diminlshed triad with a minor seventh. This type of
seventh chord structure has traditionally been called ·half diminishe(!..:.::..,
(occaslonal ly abbreviated as 0). There are rare instances in contemporary
muslc when a -7( b 5) chord truly funct1ons as a half diminished chord;
•1 v-7( b 5) may runc_tlon In thls rashton.

•1 v-7( b5) is f ound as an approach chord to V7 or as a passing chord to V7

from IV or IV-:

3-1fPsJ c1

§' ;· i 2t.!
As wlth the alternate resolutton posslblllt1es of the dtmfnlshed seventh
chords, an alternate resolution to the above pattem Is to the tonic I thord
w1th lts 5th fn the b ass:

JI&,,,_¡ 71/;_¡¡z- 7(1,5)Ih'C_j fs+;,

})
IY-7 ::r,rr-1fM) ¼-fli
7 &-7 a-1fk)F/c

!19 s,%
E"l"dj 0-1fJs-J FmlT.Í7/c
t,, � p;; +ea íJP8 �?! :¡
.,

,· • , • , •-
... ·.•
' , ' .·.
 HARMONY 3
6
IV-7( b 5) 1s also founq_ªs an approach chord to IV or fV- oras a passing
chord to IV or IV- from V7:

··/
3-;(J,) J�rn�, 7 '·(7 ;.,-)
B-7(,,, 8'· 7 /,, ·) g!J-,,,
a-1,� /

9:k* :o ,-9 t9 º .,- o •h9 : : &> ➔ .i 6'

In the above example, the V7 chord can be seen deceptively resolving to

r1v-7cbs). The expected resolution for V7 is down a perfect fifth to 1, but,
like ali dominant chords, V7 may resolve deceptively down a half step {as
substitute dominant root motion demonstrates) to .tt¡V-7(b5):

I[•7
_,,
J!. '/ I. �-J(i•>·) ,"['" - 7 ::77-?
"' -·
7 �
G- (7
B· "'(
I .,�-J 3J-7 A-7

,j
!
.,
V ti
%· ¿)' : Zl ...
•#&• : ;6'.
1
z¡ ...
j ¡;........

..,
:.¡
.¡
.J
This most often occurs as a means of delaying the cadence to tonic. An
exam1nat1on of the aval la�le tenslons for �1 V- 7(b5) and compar1ng lts
ava11able pjtches to those available on the I chord shows that common
melod1c possibi11t1es exist. I.-;-:'1j7 :1.:J! -1h;J
;rr.:1 7 B· 7(;s)
/ ..
d
"
.J

' - ..
. '

As is the case with most --7( b 5) )�s �ali those seen so far), the
available tensions for�arun�

..:.J

1
)
,\,' •,· .
 .
-
1

HARMONY 3 43

CHORO SCALES - OTHER MAJOR KEY CHORDS

Though the d1atonic IV chord· usually uses a Lyd1an chord sea le, there are
two instances in which an ICintan sea le Is more appropriate.

1) lf the IV chord is preceded by its dominant (either V7/IV or

subV7/IV), the listener prefers to hear a IV lon1an chord scale.

2) 1 f the 1ntent is to have the lis tener expect the IV chord to progress to
IV-, the listener prefers to hear a IV lon1an chord se-ale.

IS!maj ' N- 7 r.
Fmaj1 ,:-7 C
ae
, .,..,Y''-'""-"' ,! z2 � a l,- tz
ll;1"" zz & ....- :,
,.
'
au·
:z 6i' a
��
11
.

f-� ..,
/"J
o
.
/?
· a& I
�b e •
B 1
�

As a general rule, the above IV chord and the I chord are the only majar key
chords which use an lon1an chord scale. All other major chords in major
key use Lyd1an:

b11maj7 bl l lmaj7

Z2 c9 Jl l2 p¿,
Pf0 tS? & ll

lf¡f {;

bVlmaj7 bv11maJ7

ba ke
'¡,, �// /3 I.J
:�\ t..j
 HARMONY 3 44

Other modal interchange chords borrowed from the parallel minar keys use
the following chord sea les:

1-7 Dor1an - IV-7Dor1an

e- 7 ¡:. - 7
;, n a
1

�a rz 22 -
a e•
I -e-oPe 2/
q ti
'J IÍ

1 V-6 either Dor1an or Helod1c m1nor 1 V-(maj7) Helodic m lnor

Z2 ,giM c9 L7 22 6J
22 11;:l""""

Z2
I
<¡ II ,'/

V-7 Dor1an l l-7( b 5) Locr1an natural 9

... ,6? e
& 0
a b12 :'B
22

'1 ti o

11-7( b 5) Locr1an, [This is a more common use of

V7( bg) M1xolydlan bg, •9. b13 11-7(b5)]

The above scales are appropr1ate when the modal interchange chord occurs
in a maJor key.

t
1 •
l�--

:
¡,;¡;•••: : i;;;;,,;,,,;,i :,¿;.,.,.-: ·•·•,,;,:,,, ,, .. ,...: .. '·' ;,:,,•,:,,,,,,:(;, <:;::,.; .,;¡;¡.,; ; •, ..
.. -�. -- . .. . . - . . .
 HARMONY 3 45

11-7 chords which appear because of their -----.1 or L ___ _ Jrelationshlp use a
Dor1an scale:

E7
&-1
\. - - - - - - - - - - - - - - - _.J
A7"
.,
- -¡¿,..;- - - -
� •ii YIII y1i 1'11 _:;;f . . ,_ .¿z, L<üJ. i xan s
e ,1V .
rzr --a-ºº �.:9 ?Z ·¡;i:9 o
' .

Ab-7
1 , - - - - ->,.. Cma;. 7
i)ÓJ
:' :b ; . á '.' Ion• 6ft L, --- -
. ►a r,ZJ '. fuJ-du I
�

1 C
,--.9-Wp,9- vO -0
7 M

•1v-7c b s), 11ke almost all minor seventh ( b 5) chords, uses a Locrian chord
sea le:

t2 éJ
L2
/}

:·;
' .
Domtnant 7th sus4 chords use mtxolyd1an chord scales but the 4th
degree is available and the 3rd degree is avolded:

Domtnant seventh chords which have an indicated •s use a Wholetone

scale (each pitch is a whole step above the previous pltch):

�- ., 1 .....
' -.\j : ·.·
�
 HARMONY 3 46

CHORO SCALES - MINOR KEYS

Due to the different configurat1ons of the ton1c minor key scales, more
··opt1ons are generated for the chord scales for diatonlc minor key chords.
However, DIAT0NIC CH0RDS IN MINOR KEYS USE DIAT0NIC CHORO
SCALES. The criteria for avoid notes remain the same as in majar keys
(w1th the exceptlon of 1-7 Dor1an).

The I-6 chord uses either a Dorian chord scale with the 7th degree avoided
ora Melodtc m1nor chord scale:

©'
C-6
zz 6'- z::z
e
'& zz
� o JI 1'1tt.l' 7
'1 ,I

1 f"" The 1-7 chord uses either a Dorian chord sea le or an Aeo Jian chord sea le.
11 \ Un11ke the avoided 6th degree for a 11-7 Dorlan scale, Dorian minor �
I .\
1 \
allow for the use of tenslon 13: ---------
_____________.....

c-1
bw 90 lZ
� --- o,.,,
Z2 6' 22 +?
s:;ll""'
o' �¡9
'7 // 13 //
q

The l-(maJ7) chord uses either a Melodtc minor chord scale (ascend1ng
version) or, less often, a Harmonic m1nor chord scale:

&@ :(,,y 1)
" ,, a.. Z-2
r,
o'º r9 DW,.,... L"".I

O �6' V é1 ; -0-
9 // !3 9 //

j
·t¡
_ _,

:.,· . .. : ·.,
 - . 1
.. ¡

HARMONY 3 47

1 t should be noted that thaugh uncommon, it is accasionally possible to

find a Phryg1an tonic minar chord scale.

C-7 //

b1 'º b- �0 Z2
Z2 &
� -&·

All ather diatonic chords from minor tonalities have chord scales based on
the d1fferent tonic seales of those minar keys. Any non-chord tone a half
step above a chord tone remalns an a.void note. A review of the many minar
key chords and the minor keys they are found ln will demonstrate the....:'.....
freedoms avai Jable in the choice of an appropriate chord seale for ahy f
d1atonlc chord.

All dominant chards similar in function to those found in majar key harmony
(secandary dominants, substltute domlnants, extended dominants, extended
substitute domlnants, etc.) have chord scales which meet necessary criteria
f or their canstructlon: diatonlc orlentatlon = diatonlc non-chord tones;
expected resolutions of down a perfect f ifth ,. sorne form of Mlxolydf an
chord scale; expected resolutions of any root motfon other then down a
perfect flfth = Lydlan b7_ Basically, lf the root or a chord is dlatonic, think
df atonic f or chord seale constructlon; lf the root of a chord Is non-diatonic,
the construction of the chord scale needs a loglcal Justlficatlon.

. .1
 HARMONY 3 48

CHORO SCALES - BLUES

The chord scales common to blues harmonies are constructed using the
chord tones and pltches from the blues scale.

The 17 chord in blues uses a Mlxolydlan �9 chord scale:

(17�'1)
::t-1
:e • o �6' z:z
-6--
,,
¡ �,:9
b3 ,1
)- J7

In add1tlon, ít is possible to use dlatonlc pitches from the majar scale as a

basis f or the chord sea le:

17 (Mlxolyd1an):

i>
& M 6'

/3

Other blues chord scales can be derived by uslng díaton1c pltches from other
parallel tonal1ties and other pltches associated wlth blues (e.g. 1 4):

1-7 (from minar keyl Dortan: 17 Lydtan b7, •9:

®
{'- 7

be a .& º �e zz
J -o- z:;,
'1 // 13

'\:':':':':,::_,'.,., ,:•:::·,·,.,,_. •' •

 HARMONY 3 49

The I V7 chord in blues uses a M1xolyd1an chord sea le:

,
éJ "º @

The V7 chord (borrowed from major key harmonles) is elther a Htxo lydfan
scale, or a Hlxolyd1an w1th sorne alterat!ons, or an altered chord
seale:

{}7 G7f};)

&,' 72
• e 22 o o
0 Szz pe i
& 6'
o o

9 13 � i'I $'{ ¡J

·
"
...
�--f

c-7(f1;) r;.1/4tt)
&v Pó' k67 �6' o
bz:2� 6' a a
o il l:e
r
( 1
6'

,,
,9 l-Z .9
� b;3 � br #'1 bS- j,¡J

Other chords found In blues progresslons are usually borrowed from major
or mlnor key harmonles and therefore use thelr normal chord scales. V7/II,
however, often takes a Mlxolydtan bg, 1 9, b¡3 chord scale.

rz
1 69 �'l .b/3

. .
.:: :; . ', :.·:·:
 HARMONY 3 SO

�***********�*��**��**�**���**********�***�***

SUMMARY OF CHORO SCALE CONSTRUCT!ON CONSIDERATIONS

(The following generalizations should be considered suggest1ons and not

absolutes.)

HARMONIC AVOIO NOTE CRITERIA:

Any note appearing in a chord scale which fs a half step above a chord tone
should be avoided harrnon1cally, except bg and b¡3 are available on dominant
chords.

The 6th degree of the Oorian scale should be avoided except in a tonic Dorian
minar context.

Either the 5th or the b 13th of a dorninant chord should be avoided if the
other pitch is used.

CHORO SCALE CRITERIA:

Diatonic chords take diatonic chord scales, with the exception of IV when it
is preceded by íts dominant or expected to progress to IV-.

Any dornina�t chord with an expected resolution down a perfect fifth uses
sorne f orm of Mixolydian or altered chord seale.

Any dominant chord not expected to resolve down a perf ect fifth takes a
Lydian b7 chord scale.

lf a dominant chorct·s chord scale Is sorne forrn of Mixolydian, the scale may
have added altered tensions.

Any dominar1t chord wih a non-diatonic root uses Lydian _b7; any rnajor chord
non-diatonlcally rooted uses a Lydian sea le.

The only alteration possible to Lydian b7 is 6

9, lf the expected chord of
resolution is major.

b9 and #9 may coextst !n a M1xolydtan scale except on a I chord in blues or

·.j on_a_ Lydtan b7, .i:g sea le.

�
-�:::>:.::: ·,:. 'ii :,
 HARMONY 3 51

For minor 7 chords, it's usua.lly_a good practice to use Dorian when in doubt!

Most minar seven c b s) chords use Locrian.

Al l suspended f ourth chords use Mixo lydian.

A wholetone scale is used for dominant chords with #5.

Most diminished seventh chords use a chord scale identical ·to one of the
secondary dom1nant c b g) scales.
 HARMONY 3 52

MODULAJION

Modulat1on is the movement of melodies and/or harmon1es from one key

into another. In arder for a modulat1on to occur, the 1 lstener must sh1ft
from the original tonic reference to a new ton le ref erence.

�•* t :.sr ,=-- e -.- · -

Irn11j·7 SC/J,J(!i[� •> JI-7 y-7� Imllj 7 JYmaj 7 4Ir.[·1(J5") zji-6
G·1 fmaJ7 3-705) 8b-6

::_¡_ :;. J-; --

rmaJ7 ,41>7 C7 3'mdj7

;;¡

--;,
I171(/j7
fmoj1

The above 16 measure tune conta1ns a modulation from F major into Bb

majar and returns to F major. Not1ce that typlcal of thts type modulatlon,
the phrase in 5 b may stand alone:

:1
However, sb maJor 1s the SECOND�RY key and F majar Is the PRIMARY
key. The relationsh1p of the secondary key to the primary key 1s shown
. with a small arrow in the d1rect1on of the modulat1on and the intervalic
dlstance to the new key.

¡ J
 HARMONY 3 53

When modulatlons occur wlth1n tunes, 1t 1s common practlce to use

accidentals as opposed to changing key s1gnatures. General ly, the less
acc1dentals necessary 1n a modulation, the more closely the keys are
related and the more subtle the modulation. The prevlous modulatlon
required only the use of one additional flat to accornplish the rnodulation
from F major (one flat) into eb majar (two flats). Modulations to distantly
related keys are more obv1ous.

F1
. :J #¿ 3; 72

�-•
317· -�

(�)a ;¡ 1

The above rnodulat1on (up a half step) requires accidentals for al l the
melody pltches. This type modulation, though somet1rnes found In tunes, is
also a common device used by arrangers. The use of rnodulations upward
tends to. keep the music "forward movlng·. Therefore, most modulations
are percelved as occur1ng 1n an upward d1rect1on. The above example Is
shown modulating from F major lnto f # major. lt is easler however to
notate and read the example modulating from F majar into 5 b majar:

f1 F7

�·• ¡; ¡: JQ aj/1 ;2: L2

_,
-
(J-b7 c;.1,7

1® ,;,p .,ff_P':. �½ ¡ - ,�; �J J ;:fkJ

{!/J7
ti

-e-

Althotigh written enharmon1cally in G b , the modulat1on sounds llke~toníc

__ motion upward from F to F z . f1:> requires 5 f_lats, but the 11stener
perceives the rnodulation as ·going to p r (all pitches raised a half step
frbm F).
 HARMONY 3 . 54

PIBECT MODULATION
Modulat1ons may occur d1rectly from any diatonic chord. The most common
form of DIRECT modulat1on Is from the I chord, since the I chord
establíshes a po!nt of tonal f1nal1ty.

1
2c • • - 0 --- : .; ..::
·.oº -
.,.....---;\o-Tmaj7 'Xmaií
[Maj J 0º,,,aj'7

., • 'i# • ;;zí.., [! 5.; �- -

z:z

When the harmony modulates, the melody may or may not modulate. For
example the melody may repeat while the chord progression modulates. As
seen above, however, when the melody modulates the harmonies_ ffiY.S1
modulate. ...
I.mo;t SI.I.PJ! 74
JJ.J,, .rr.- 7 � l.I
-rr7I m-7

r u r / s- -:: i :
E}m,j1 0b1 � --�c-1 r1 0 _7
� 1 -- --

�l"l:

..
¡ ¡

The above example shows a modulation rrom the d1aton1c 11-7 chord
directly to the new key a mlnor 3rd h1gher. DIRECT MOOULATIONS FROM
DIATONIC CHORDS OTHER THAN I OR V USUALLY INVOLYE .STEPWISE ROOT
MOTION,

.J
-·1
:::: .: . •-;•· .. ::,::• :,:.:__ ,•,;-e-·-.···•·:·,,:· .
__;
 HARMONY 3 55

PI YOT CHORO MODULAJIONS ·

Chords which funct1on 1n both the original/pr1mary key .allii in the new/
secondary key are PI VOT CHORDS. Their dual funct1ons are indicated by
two analysis symbols; one in parentheses showing initial function, and one
Justifying the function in the new key:

- -
(3-1)
I:rnaj7 TTT-7·
:zr-7 .p._
. (r-1
rr-1

®�
rmqj1 G-1 f·1
6 - - ¡; •
i --- .
'
M A
d
---
Imaj1 II-7 T,maj?
f.bmaj 1 f-7
º
é maj7
,--. t-�
iÜ- .-n
1 ....
o - ,_ ª ., -
. .\
As 1s the case for all chords requ1r1ng parenthetical analys1s, the choice
of chord seale far a pivot chord is based on the chord's in1t1al function.

tII- 7)
T:nqj7 Imaj1 +L I[f-1 71'·7
©8 Iottiao j Dlft j dll Ion i a11 Dorian Dori.:in
· J

:J:rnpj 7 t-Z.
lij <1
-::en, 4) 7
Ioniao ¡ o, 1, ¡ a11 :IOOÍdli Iouia11

··,

The usual pract1ce of determ1nlng chord scales by 1n1t1al functlon 1s done

to present the 11stener with a decepttve, but acceptable surprise.
. Therefore, a pivot chord is heard and analyzed ffrst 1n terms of the
preced1ng key, and then 1n terms of the new key fo be establ1shed.
·- .

.
. :.
·.·,·
. l..
 HARMONY 3 56

DOMINANT CHORD MODULATIONS

Hodulat1ons·from dom1nant chords, llke other plvot chord modulations, may
exh1b1t dual funct1on (decepttve resolut1on). Also, domlnant chords which
resolve deceptively w111 be analyzed 1n terms of both old and new keys.
Ali dominant chords have an expectat1on for resolut1on. However, the
different resolutions demonstrated by dtfferent types of dominant chords
allow for the following root motton patterns to new keys:

DOWN A PERFECT 5TH:

V7 to lmaj7 (;-7 Cmqj7

..._,

OOWN A HAlf STEP:

sub\17 to lmaj7

UP A WHOLE STEP:

bv117 to lmaj7 G,7 Am4j7

fJ1
o V :1tJ#
ij

.,
DOWN A TRITONE:
G7 [)bmaj
7
V7 to b1 lmaJ7
9! ·' !
j_ c:r
;¡�º¡,.Pt,, .

_ - . :· ·- •.·· -
-, _.,,, .. -- -·. ··-·-- ......................... _.,, .. �.. •·••···�-•-�.,.!-�
 HARMONY 3 57

DOWN A MAJOR THI RD:

V7 to b¡ 1 lmaj7
E¡,ma/7
·:�%
G-7
9: J ·� -u--

UP A HALF STEP:

V7 to bv1maj7 GJ APmt!f·j
9: o bv , ·
,�.
:,�

Add1tionally, the expected dlatonlc chord of resolution for a secondary

dom1nant may deceptively change quality and become a chord functioníng
in the new key:

V7/II to new lmaj7

[)!?1(Jj7
o
( Ir 7 expected)

V7 /II I to new I maJ7

(E-7 expected)

V7 /IV to new lmaj7 c1 fmaj7

CThis may not sound 1 lke
a modulatlon since IV o
Is a diatonic maj7 chord)

-.
:·:•···.·· :_�---:-.=.. -:;.;.;.::·::=;:::::::\\;.: ..:,:··.:::·-•,.:. '·:_·::;-,•-: ...
 HARMONY 3 58

V7 /V to new lmaj7
D7
o
6'
(G7 expectedl

V7 /VI to new lmaJ7

::7
FP F
-;7-
(A-7 expected)

Therefore, ANY DOMINANT CHORO MAY RESOLVE DECEPTIVELY INTO

A NEW KEY. Though the other above patterns may occur, tt)e root motion
from a dom1nant seventh wlll usually be either down a oerfect flfth or
down a ha 1r steo or uo a steo.
 HARMONY 3 59

Extended dom1nant and extended subst1tute dominant mot1on (wlth or

wlthout the related 11-7 chords)·may eventually result in a modulatlon.

�-7
Cmaj7 -------
' '

-o--
- -l,,.
c�1
:1

The same example may be used to demonstrate modulat1on to a d1fferent

key by add1ng one or more dominant chords:

In1t1j7
Cm(l_j 7

9:r; l1
72

The prev1ous transit1on from the or1g1nal key 1nto the new key can be seen
as a modulation, because all the dominant act1vity makes 1t dtfftcult for
the ltstener to hear the orlg1na1 tonlc-reference. Thls trans1t1onal type
modulatlon, though not very common in tunes, is an occasionally used
arranging dev1ce.
 HARMONY4
by Alex Ulanowsky

·Berklee
COU..EGE OF MUSIC

: ... ,: . . . . . .'· ·. . ·.: ·. ·::�:- ·. '

. . . . : .... _· ... : :�:. �.. . . . . . . .'
. .. . . .. . . .
. . '.. . . ·- . '
.
. ... .

. . .... .
r
 @) Berklee College of Music 1988

. . ... ,•···· ..... . ·.·= . .. �· ·

·.· :,•:.,••
 HARII.ONY 4

TABLE OF CONTHNTS

Qw>t.er Soqject t.
1 Deceptive Reaolatíoos ofDominant Sev-en.th Chords 1

2 ContiguousllV'"a 6

Speci.al Functiao. Domínant Seventh Cllol-ds 8

Modal HBrmaoy 18
·�-J

s llodal lnten:hange

6 Pedal Point and Ostinato

7 46
·J
-:�
Comtant SLna:tutt Chord Progressírm 56

. . -·
: .• ,•· . . . .· . .
. .
.
·--�� ·-· -- ..-:-: ··-••o::-•"Y.--........�-·-,�-••:-_ •.• ,,,, •., _,:::--·:� ... ,..,�
 Chap ter 1 Harmony .4 1

DECEPTIVE·RESOLUTIONS OF DO.MINANT SEVENTH CHORDS

A deceptive resolution usually occurs in one of the foliowing situations:

l. A dominant seventh v.fuch normally resolves to a specific diatonic chord goes
somew:here else.
2. A repeatetl pattern in a particular piece of music is cbangro.
3. A familiar h.armonic fonn (such as blues) is altered with an mmsual chord of
resolutíon.
Of these possibilities. the fi.rst is by far the most cammon_

PRIMARY DOMINANTS (Review)

The primary dominant and its substitute (V7/I and subV7/D reso.lve deceptively when
they go to any chord other than I. v7/I resolves deceptively more often than any otb,!'.r..,
dQrninant 7th. and--. usually �. to one of the following cbords: III-7•. III-7Cl��
(_!.}_fy,l.· �"!=!1··,��-�j�an,,�1. itJV-7<b5l'
After a deceptive resolution of V7/L tbe progression usaally ret:mns to I in a familiar
pattern of chords ·aod root motian. The pattems have many variations. but the
following are typical:
C:
G7 E-7 Ai D-7 G7
�7(b5) A7<.b9) D-7 G7 e
E7 A7 D1 G7 e
A-7 D7 D-7 G7
E�aj7 Ahmaj7 D�aj7
A�j7 Dbinaj7
Dtmaj7
F-7 Bh?
p#.'](bfi) F� E-7 Eh? D-7 G7 e
Secondacy doroinants and II V's in these pattems may of COCII"Se be replaced by
substitute daminants and chromatic II V's. A few possibilities:
G7 E-7 D-7 D07 e
E-7 � Ab..7 D07
-� E-7 A7 Ah.7 D07
� A-7 AUT D-7 oh-¡
A-7 AfT/ Ah.7 D07
�!
,.
1
 Ch�r.er l Hannony '1 2

SECX>NDARY DOllINANTS
Secondary dominants and their substitutes traditionally resolve clown a perfect 5th or
dmvn a half--step to - the appropriate dialoDic chord. Any other resolution is
considered deceptive, even though deceptive resoltuions are not tmusual, especially in
contemparary jazz and fusion music.
Toe foJlowing resoJubons, then. are·considered ·nonnaJ-:
� - - - - . ..,.._
V7/II I II-7 subV7/II I II-7
V7�-7
- - -
sub \:7/IJI l Ill-7
-),,..

�
v7/IV I IVmaj7
- -
-· - -;::.._
subV7/IV I IVmaj7
sub\17/V
- - -I -:::,._
V7
V7N I V7
� - --
subV7/\!1
-�
l vl-7
V7/Vl 1 \'1-7
...
/---:. •�

An ;ÍD<Íin!r.t :resoltrtion is .oot considered deceptive:

'"------,./
C: \:1-7 V7N Il-7 V7/I
/ A-7 D7 1 D-7 G7

Other exceptions to these "normal• resolution patterns v;ill be considered. in a future

topic. "Special Function Dominant 7th Chords ª .
When a secondary damioant. or its substitute, resolves deceptively. the Roman
nameral analysis is placed in parentheses.
F: V7 /I I II • 7
Fmaj7

r
01-- >- G- 7 . Fmaj 7

GJ ;*
I
r: t9 o !1
(V7/II) bVImai7
D7- •• • --)..Dbmaj7 C7 Fmaj7

r 16 r o !1
Ab 7-. - - ·-.)...G- 7
subV7/II Il-7
C7 Fmaj7

btil :. o 1 z:, ¡1

(subV7/II) bVImaj7
Ab7 )...Obmaj 7 C7 Fmaj7
b z) 1 ,� !
Zl
o !1

t- � i� . ,/s\:
'

<t... ·.. ·.
• :.
··,·... · ... : ... -- . .
 Chapter 1 Hannony 4 3

Please note that arrows and dotted arrows show the actual resolution of the
dorninant 7th (down a perfect 5th or down a half--step), andthat parentheses only are
used. to indicate deceptiVe reso!utions.
-
In the same way. brackets and dotted brackets show the actual rootmotion far
II V patterns, and are not intended to incticate deceptive resolutions.
F: V7 /V G-7
Fmaj7 G7 Fmaj7
.1
:Yct g j ! .J J
- --- - -
?
o
(V7/V).., -- -
G-7 � Gb7
Fmaj7 G7..,

ª
Fmaj7

tV&i
�---------.J

d & &
�� o
subV7 /ij. - _, - --
c.,.' 7 - -ll--C7
Q Fmaj7 Db7 ... ::;iaj 7
lb
¡
f'
(subV7/V
�r 22
V

Fmaj7 Db7 Db-7 fmaj7

9:b r
GJ,7

�r
-�'"_ra

t iba
&W o
subV7 /V_ __. - - - - _ - - �
Fmaj7 Db 7 .., Db-
.....
7 C7
:; ________ Fmaj7

91&J f &f7 jb:9 Zl

z;,,
'.I
A complete analysis far the examples above would use the Reman nmneral II-7 far
G-7 (the dialami: 11-1). bat not far ob..7_ The technical term far Db.7 would be. •the
.n!lat:ed II-1 of subV7/L" bcrt a bracket ar dotted b.racket is snfficient Toe analyses
below are complete:
Tt-7 V7 /I
F: Imaj7 V7/V Imaj7
Fmaj7 G7
G-7 C7 - --..,... Fmaj7
91&$ V J : .J .:�
o :1
Imaj7
II-7 subV7/I
- - - -.),...FImaj7
9:�,=
Fmaj7 G-7 Gb7- - ma 7
L..--------...1 j
·�

•· 1·
e,

&r i o &J o
Imaj7 (subV7/V subV7/I Imaj7
..
:;� Fmaj7 Db7 Db-7 Gb7- - -- - -),...Fmaj7
�
�i� !1
9'&4: i i&
&J
·,

·l
o

Imaj7 V7/I
o
Imaj7
Fm.sj7 Db- 7 C7
' - - - - - - - - -...1 ---,,...E'maj 7

9'�* c9
¡ -�º %7
�
o :1

. ' . : .. -�- '.' ...

 Chapterl Harmony 4 4

Sorne deceptive resolutions are only slighl:ly deceptive and vezy subtle. Fer example, a
seconda.ry dominant may resolve to the correct root, but the wrong chord type. In the
keyofBb, A7 is V7/III 'Nhich normally resolves to III•7.

Vl/III III-7 V7/II

Bbmaj7 A.7__.-",- u -l---� Gl� C-7
1
9' b �4t º
F7 Bbmaj7
-¡
j O
·:J A o
:o ¡1
If V7/III resolves to a dominant 7th an the same root, a parenthetical analysis is
required.
(V7/1II) (V7/VI) bIIImaj7

51'&6=-::: ,.; :.
� Bbmai7 A7�07 ... ---)...Dbraai7 C,7 Bl Bbmaj7
ba
q :1
1

0 1 zz {Po

ROOT MOTION
In contempornry music. the most common fonns of root motion in deceptiv.e ...___,
resolutions of seconda.ry dominants are, 1) up a half.gtep. 2) up a whole step, and · ·
3) down a half-step. Far example, V7/V may normally resolve to V either directly or
indirectly.

-j

The examples below show three common deceptive roo_t motion patterns from v7N.

Imaj7 (V7/V) bIIImaj7

Ebmaj7 F7 Gbmaj7 Bmaj7 Emaj7
:b -
?l&!,bf in- '
' ,9·
' ' 1 f' :� ; -· É1,... q
: r· r·
Imaj7 (V7 /V) III-7
Ebmaj 7-- F7 G-7 C7 F-7 Bb7
'J:&bp¡, (' ¡ �- J. ¡ j.
'
Imaj7 (V7 /V) bIImaj 7

--·
Ebmaj7 F7 - - - - - - - - -�Emaj 7 B-7 E7
'Jiib \· rIr : �- i§rz· ¡l S:W.
;i 1
1

.:,;

. •' , .. -· •.• ;,_:: .. ..

, ;: ... •: ·. :: .. ·-·- -··
--
• •- • � O O•• • _;_•·••• "''• ·••••.....
; ••••o ..,o_• •-�•.,•, ... .,, ...... M .... , .... 0p..,7o
, ..._ O • ,.•:• •'• ·••••••• • ............ •
Chapter 1 Harmony 4 5

110DULATION
A deceptive resolutioñ sometimes results in a modulation. Wben this occms, a pivot
chord analysis becomes necessary since the dominant 7th chord assmnes a new
meaning in the second key. The example below includes a pivot chord modulation
from F to Ah. as well as severa! other deceptive resolutions of secondacy dominants.
Root motion patterns are typical..
(V7 /VI)
f-3
�f;,,b
F: Imaj 7 Ab: subV/I I maJ·7

v
Fr.iaj 7 Fm,3. j 7 A7, - -3)- - - -� Abma j7
· (bl
-·
Eb7

t ■, Zl o
:
¡p
.o

: ªº
Abmaj7 Dbroaj7
,1
;
22

)
Ernaj 7 Eb 7 (IJg Abmaj7
• j

CHORD SCALES
The chord sea.le far a deceptively resolving secondary daminant is derived from the
parenthetical analysis. regardless of its resolution. This remains the role. even in a
modulation.
In the preceding eyanwle, the A 1 in the second measure takes a chord scale far
V7NI (Mixolydian t.J. º13 ar altered), not' Lydian h7 for subV7/I.
This application of chord scales reinforces the original meaning of the chord. and
therefore PDhaures tbe deceptiveness of the resolution.
Although occasíonal exceptíons to this prtncíple can be faund. ít is nearly always the
most effectiveway to treat deceptíveresolations.
 Chapter 2 Ha.rmony 4 6

CONTIGUOUS II V's

) Toe II V pattern is sometimes used in ascending rather than descending �tion.

\\7hen this occm-s. functional analysis CRoman mnnerals in a key) is no longer
�relevant. Toe chord progression is justified on the the basis of continuity and
_repetition in the melody, bannony and root motion. This is known as
c__ "non-ftmctional• analysis.

In the following example, the E-7 A 7 pattern is contiguous to (or �next to") the
F-7 BbJ pattern. bat has no ftmctional relatianship to the other chords in the key of
Eh. It is therefore called a cootiguoas II V.
---Conc�guous---------------------------
1
1 II-7 . . V?/� Imaj7
1 E-7 A7 - F-7 Bb7 l Ebmaj7

ij
1
i ll

A contiguous II V is usually a whole or half step aY.>ay from another II V which is

analyzable in a key. In the preceding example. the E-7 was a balf-step away froni the :";-...
F-7. In the following example, the A7 is a half step away from the Bb..7.
--Conciauous--------------------------
1 ° II-7 V7/l I Imaj7
1 E-7 A7 Bb-7 Eb7�Abmaj7
¿_z
i?

A contiguoas II V may be interpolated in an otheraise functional progressian. In

these cases, the daminant 7th chord frequently resolves in a normal way. In the
following examples. the A-7 D7 pattern is rehannanized with a contigoous
II V (Ah.7 Oh?) which does resolve to the next II V.

III-7 V7/II
A¡7 07-----....�G..:-7 Fmaj7

!J 0 !j V

{/IV-7(b5) IV-6 subV7 /V _ - _

B-7(bS) Bb-6 A- 7 Ab- 7 Oh 7" -G-7 - )..:C7 Fmaj7

IJ 'o ¡1
I/IV-7( b
(b5S) -IV-6 subV7 /V - - - - ... ...
B�7 ) Bb-6 Ab-7 Db7 ... .,. G-7 '.)..c7 Fmaj7

i. .J: o

. ' .• ·. ' :, .
 Chapter 2 H.armony 4 7

The next example involves a series of ascending II V's.

--Contiguous----
II-7 V7 /I T T I II- 7
C: V7 /I I
D-7 G7 1 Eb-7 Ab7 E-7 A?- �

0 1
Hrr,i A
II- 7 V7/I Imaj7
�D-7 G 7 �Cma j 7

5P 0
o
cz

The final example combines contiguoos II V's with modulation and deceptive
resolution.

*.
-Cont:..guous- Eb: I I - 7 Imaj7
T r V7/I
A7 E'-7 3b7----4o.� Sbrnaj7
I E-7
6;):.b. :¡z?i
; lZ
� t, >,�
-c'onciguous---- --Conciguous---
T rv-7 (bvrrn r , l Db: I I-7 V7 /I
1 Ab-7 Db7 I 1 D¡- 7 GJ ,!, 2 Eb-7 Ap7�

!
1

. -;
'] : _J_ o -e-
ti

Imaj7 C-: II-7 V? /I I

J. - 2 D- 7
� Dbmaj7 G 7 � C=

5)1, P· to i1 ¡ ti

·-'·•

.. __ . - ..
. . �- - -� .. -· -• . . .
. . . ' .. ••:-.
 Chapter 3 Harmony 4 8

SPECIAL FUNCTION OOVJNANT SEVENTH CHORDS

The word ·dominant· in hannonic theory can refer either to a type of chord orto the
li:mcl:ion of a chord.. C7 is a domínant 7th (choro type), andas V7 in the k.ey of F, ít
also has dominant function. · As 17 in blues in C however. it has tmJic blues
.imction . 17 is therefore a special ftmction dominant seventh.

A dominant seventh wil/J dominant ftmction normally resolves directly or indirectly

to another chord whose root is down a perfect 5th (arrow) or clown a half st.ep (dotted
arrmv).
,. - -� ,,.---_,¡
Direct Resolution: 1 A-7 A07 1 G-7
L----' �
Ci I Fmaj7 1 1

� ,.- - )..[
Indirect Resolution: 1 D-7 D07
'-----..J
1 Db-7 Gr17 1 Fmaj7 1 1
L--....-...-1

.. ----d �
D-7 Dh7 1 G-7 C7 1 Fmaj7 11
1...- --.J �

,l
Sabstitute domínant functíon is a kind of donúnant ñmction, and is not considered
"'s_pe,cíal.• ..
A chord with dominant ftmction may also resolv-e deceptiveJy without cbanging its
ftmctional analysis.
··¡
·;
F: (V7/VT) (V7/v) subV7/I
-
J

-------� ---�
1 Fmaj7 A7 1 Bbmaj7 G7 1 G-7 Gtr¡
'-- - - - --1.
1 Fmaj7 1 1

17 and IV7
Special.limd'iw daminants, on the other han� are not deceptive resolations. 17 in
the blues soands like the tonic choro, and IV7 sounds like the subdominant chard.
17: Tanic blues ftm.ction
IV7: Sabdominant blues functian
Mis also diatonic to melodic minor, and has subdaminant function in that context
aswell.
 Chapter 3 Ha.rmony 4 g

The following examples use I7 and IV7:

17 I7 IV7 I7
Blues: C? C7 F7 C?
¡\
' >
- 11
V?
I-6 I-6 IV? I-6 V? 1-ó

-
C minar: C-6 G?(bl3) C-ó F7 C-6 G7 C-ó

(f
�obtpC �
"ii;i ., J :J112-� -
:
1
'
#' ..5 •
1
�
'
b
�-e !1

Another special ftmction dominant, CJ\'117, is derived from natural minar.

0VII7
Nat:ural minor:

-e- V pe 12

rl\/117 narmally resolves to L and is closely reJated to the N- chord in nataral minor.
Farexample, ifthe root ofCJ\1117 is placed below N-6, the resulting strocture becomes
bv117.
bVII7
IV-6
e minor: F-6 Bb7(g)

!,if' b!,-u-
Y'
Since IV- (ar IV-6 or IV-7) is tbe subdominant chord in natural minor. other chords
closely related to i t bave SDDtlamiDaD�millar JilDdiaa. Therefare, when either N­
or bvií:7 resolves to I, it is called a sabdoroinant �or cadence.
. . . . . . . - . .. . -
bVJI7: Sabdominant minar fcmction.
N-7 and bvn7 are frequently ased together in a subdominant minar pattem.
SDM SDM*
1- IV-7 bvn7 I-
IC- 1 F-7 Bb7 1 C- 11

* SDM means subdominant minor.

 . -
Chapter 3 Hannony 4 10

Two other diatoníc natural minor chords are related to IV-:

U-?{b,5) and b\rimaj7

.J

II-7(b5) bV1maj7
minor:D-7 (bS) Abmaj7
ª :·bfl Sa
-.J
72
21

II-7( � has the same chard tones as J\l-6;

bvlmaj7 can be seen as an extension of lV-7.
}
Il-7(b5 IV-6 bVTmaj 7 IV-7
minar: D-7(b5}

,i'u
F-6 Abmaj7 F-7
. :llrgfl i',.
ij btJ i,[}2 .

Tbese chords ali bave the comrnon tone q, (Ah in the key of C minor). and ali are
subdominant minar. Only b\!JI7, howeve.r, is a special ftmction dominant 7th.

..
e minar:
SDM bSDM S�M_(b SDM bSDM
I .t. - I S)
... ,
IV- VII? IV-7 VImaj7
-
,l'H ¡f�
�ij -� ¡,g 00- b�

Tbe process of .moda/ ioteu:Íla.t# allows diatonic minar key chords to be ased in
the parallel major key (see Hannony 2). Subdominant minar chords are often used
this way, especially in strong cadential patterns such as the one below.

________
Imaj7 V7/IV IVmaj7
Cmaj7 G-7. C7 �Fmaj 7

---
1

-,--
'

SDM
IV-7 Imaj7
F-7 Cmaj 7

¡J d
1 11
(PI�ase note that the C7 above falls an a weak beat and functians as v7/IV, notas a
tonic blues chord).
 Olapter 3 Harmony 4 11

l
¡ Cl\!17 is asually analyzed as subV7/V, wil:!!_��titute dominant function.
subV7N
... ---:::¡�
1 Cmaj7 A·7 IAO? .. G7I Cmaj7 l l

The same chord. however. has a reasonably common resolution to I of the key,
creating a special ftmction cadence: hvI7 to I.
ºvn Imaj7
':.-7 Eb7 Ab7 Cmaj7

wl:' �-
The hvJ7 chord is originally derived from chromatic hannony of the 19th century.
Chromatic passing tones used between familiar voicing:s created fresh new melodic
and harmonic sonarities such as the augmented 6th chords. The simple voicings
below show a familiar pattem.

--·
f/A C/G
.I
�
�
¡--.:,,-- i
6 3 6 4

.. - '"' - ¡
,
6 6
3 4-

In tbis example, t:raditional figured bass indications appear below the bass notes,
showing the intervals between tbe bottom and upper voices. Far an 18th ar 19th
century �ichordist. the bass notes and figures were •chord symbols/ smficient to
, indicate this cadence from IV to I in C majar.
.J
i.� .
!,j
Below, chromatic passing tones are ad.ded in the top and bottom voices creating an
aagmented 6th. The restrlting voicing \vas called. an !tallan augmented 6th chord,
� · · whi�- spelled enhannonically, eqaals an AlYT ar b\117 in the key of C.
IV bVI7 I
' 1) F/A C/G 2) f/A Ab7 C/G

1 � - - � � ·- -
' -r-
,,
·11 -8-- -#- � �
◄ aug6
-
. - 1,.. - - l.-
..
6 6
3 4

.. ' .. . . . . . . . :.: -... : ...;: � . :: ..

 7
Chapter 3 Harmony 4 12

In contemporary practice bvJ7 can resolve to l in either root position or second

inversion. but it must resolve to l. Toe same chord resolving elsewhere ís analyred as
subV7/V, as usual.
The �t af bv17 ís the scale degree (i:G) which all subdaminant minar chords have in
common. hvI7 is therefore closeJf reü.lted to the N- chord, aJthaugp nat diatanic to a
minar key. Since the h?th of the chord is not in natural minar, b\.117 has al/e:n!d
subdaminant minar ftmction.

C Natural minor: ºvn

¡¡ 5
o 1�-07

Il7:
II7 is similar to bvl7 in several ways. It shares the same tritone, and is nonnally
analyzed as V7N, with secondary dominant fimction. Toe chord is analyzed as II7
primarily when it resolves clirectly to I, and thls resolutian involves cbromatic motion
fram # 4 to 5 of the key (comparable to the augmente<l. 6th passing tone in bvl7). · -�-•
.··•
• _.,f
_, bVI7 II7
l) 2)
f'/A Ab7 C/G F/A. D7/A C/G
..
1
/, - "
¡ 1 _____,,.
- "
..
..,_
7
�

---
__-e'-
4
1 __. 1 ¡ --'¡"-
---
(no 1
-
1
1 root)
- ¡
.
l. - "
,. -
,

II7 is even more closely related to #IV-7( t.5) wbich. a1thougb not a dominant 7th.
cantains the same tritone, almost tbe same chord tones, and often uses the same
resolcrtion pattem to I over üs 5th.

VI- HV-7 (b5) . 1 VI- II 7

1
I
1) A- A-7/G FU-7(b5) C/G 2) A- A-7/G D7/Fll
.o 1 1
C/G

-
1
..
I
- -- - --
1
,. :
-1 - C/

1
◄

- ,
-
- - .. 1 ' -- ,/

., _

..
. :-:-•,,,. ;::--.:.: '. ;::-<: :,:
 Chapter 3 Harmony 4 13

-- - Llke # IV-7� a f.J.rSt inversion of U7 can also resolve with bass motion chromatically
down to IV ar N-.

II 7
A- A-7/G Dl/FII

Toe following .resolution patterns. then. are available far II7:

l. ll7 over its 3rd. (1st inversion) may .resolve to I over its 5th (2nd
inversion) ar to IV ar IV-.

2.. II7 in root position may resolve to I or I over its 5th.

 Oiap ter 3 Hannony .4 1.d

If the same chord resoJves in sorne other way, it is analyzed as V7/V.

--- -·
Key of C: (V7!__VJ_ _ __ -;,\: II7 IV-6
Cmaj7 A-7 D7 ►ob7 Cmaj7 A-7 D7 /Fi F-6
d ,.. 1 ......,
P' - -
1 ' 1

--
1
�-
1
- -
1
� . '
-
r r
e " �
◄
¡
T" -P'-
1 ¡ -zr-
1
�
1 1
1 1
. --- �-- - 1
�
1 1 r,
1
-1 -
-
1
!. J
- ,

�r
� , -
�
i
I
-
1 1 1 1 1
r 1f'¡
C/E
/
&
i
-
--é;,'-

�
-.

Key of C: II7
A- A- (maj 7) /Glf A-7/G D7 D-7 G7(Hl)
h 1
6
-·- 1
-- - -1 -1 r-1- 1 ,,
1
·-1 -1
·-- 1
,e
1
-,
� ",

r
r r,
r 1 r .,.,
';
r 1 1

-
◄
-e-
-e- ,1..,6'- /\""9--- � -f2-
-
-e-

r-
., ,. II '
- 1 1 1 J

Cmaj7

- --
◄
! ;

':

-
-,
j
 Chapter 3 Harmony 4 15

ll7 is related to IV majar and #l\,'-7(b5) by both common tones ari.d. resolution
patterns. Although non-díatonic, it is in the major key subdominant area and has
alterm RJhdnminaitt-.mafar: ftmction. The triadic fonn of II majar is also used,
especiallv as a substitute far #IV-7 (b5)with bJ.3 in th.e melody (a difficult note to voice).
{bl 3)
# IV- 7'ti S
.
1) Key of F: (bl3) I·V-6
S 2) II IV-6
B-7 b D-7/C
' D-7 Bb-6 D-7
1 1 G/B Bb-6

- - - - -
' 1
·�
r

- -
'
� � -
.J -&-
r vr -e- r vr
..¡
1
- -J -- - l 1
1

.
-
1 1
-
- ·-
- J '
·--
. ' /

� •J
' �
1
.
r '�
1 1 1 1 ! 1 ¡

The daminant chard on VlI is usually analyzed as V7/IIL with secondary dominant
ftmctian.

V7 /III

B7(:iJ)
C: III-7-
bS)
Fll-7 ( E-7

�r r-
D-7 Cmaj7
1 1
1 1
!
.
1
- .
� -
�,
1 1 1
/
. .
-, ,-ir
w- -

. 1 :fr-i9-
1 'T �

. - - -
,
- :::

--r- r
LJ

'ilf ...... 1 1 -o-

'.
¡
 beat of short durat10n,. it is sometimes
simpiy a deceptive resolution of V7iIII.
\Vhen tbis ch.ord resoives to I from a \l.?Bak.

(V7 /III)

Fft-/bS) Bi�i3)
lmaj7
F . (i/11)
Cmaj7 UlaJ D-7 Cra.aj 7

,1
. -
l 1
-
1
-
1 1

' - -
/' II I
IA IA
'
�
-
i..., L/ -t,- y -v- �

◄
- --- - - -

r
/1
"' ' '
' , '
" '
1
,
�L/ 1 1
,-

Hmvever. when t.fie chord has a more nromine.n.t harmonic rh�thm and resoives
directJy to I, it is ana1yzed ,vith special fuñcbon as VII7.

VII7

r-
Cmaj7 B7 Cmaj7
-
-- .- ---- - -- - - - -· -- -
A i... 1
--
� � � 1 1 1 1 1
-
�
-
.· a
;
,.
•J
"
-·- FA
.,
'
1 p
y
.,
lf..., :;,C,/ -¡1
.�v-
◄
e

. n••
- ___ .......,.....,_ - -
--,_ . -- -
'
-
1,,1

Since vll7 is not associated with any partica:iar area \\-ithin the key, its ftmction is
Sllllply caden�i.a/.
'fhe prünary d.Hforence betw-een VII7 an� V7/IlI is that v1J7 nonnally takes tensions
� 9 and � 13. wble V7/IIl takes � a.11d 01:� .
◄

.¡ . . : _:,·. . . .__ ·- : : .. •. ·..:.:...·. -.· ...

 Chapter 3 17

¡-
STTIQIAR.V OF SPEC1AL FUNCTION OOIIINANT -SEVENTH CHORDS
�1 SJ2ecial St,ecialFanctiQD �is with
,,,
Fanction Chord Scale Dom:inant Fanction
17 TonicBlues Blues, Mixolyd:ian. V7/IV
Lydian l7¡
IV7 Subdominant Blues, Mixolydian, subV7/lll
Bluesor Lydian t77
Subdominant
. Melodic mínoi
bvn7 Subdominant Lydian 'a¡ in Major subV7/VI
minor Mixolydian in minar
hvl7 Altered Lydian l7¡ subV7N
Sabdominant ..........
minar

Il7 Altered Mixolydian ar V1N

Sa:brlomioaot possibly Lydian h¡
Majar
Vll7 Cadential Lydiari l7¡ ar V7/III
Mixolydian

� tJ
-·

;�
•;1.·
 Chapter 4 Han:nony 4 18

MODALHARMONY

.A.ll ctiatonic hannony can be called ·mooaJ· in the sense that it is derived .from a
given tonic mode ar scale. The modal name for our majar scale, far example, is
•1oruan•. ane of the medieval church modes. When we refer to •modal" music.
however, we mean music based OIJ somewhat less familiar tonic mcx:les. stICh as
Donan ar Phrygian.
MINORMOD�
A review of the comparisons among the standard minar scales (ar modes) is a useful
starting point. You will recall that the diatonic triads and seventh chards from all
three tonic minar scales are freely interchangeable in minor key chord progressions.
They are listed below.
e NATURAL MINOR

w� s'n
-
1 II º bI II IV V- ºvr ':)VII
9�
1

����
bfl fi bfl
I-7 II-7(b5) ºrr-
_ 1maJ· 7 IV-7 V-7 bVImaj7 ºvr;r
'2 '�H \

ti if'fl b'T
�81 5� �j
:i

e HARMONIC MINOR *
* * A new d ia conic e hora ·
I- II bI;I IV- ºvr
�a
º
+ V VII º
·b
Cr ��
�é¾ bt3 1�
� �
bg ��

�,
*
I-(maj7) II-7(b5) bII ;maj 7 (!/ 5) IV-7 ;? ( b9)
1 (,---)
�& 5�
i�I ¡f�
Harmonic minor
II V

C MELODIC MINOR (ascending)

* ... * A new diatonic chord
I- II- bIII+ IV V VI º
VII º

�lt �@t
-* *

ª'
S) V7 )
I-(maj7) I-6 II-7 b II Ima J7 ( ti I V7 VI-7(bS VII- 7 C

&�! =ihí f�
j ,-,-
·;J < . -..- ... , ... ,>'-·'-
l:t:· ,.,,, ,,._.,
• • • -• • • • •• • • ª •-• • ••• •
Chapter 4 Harmony 4 19

Fmictional- classifications are not absolutely clear cut in minor, but they are still
based on the Tanic CD. Subdominant (IV), and Dominant (V) chords. I minar and
bJn major chords are Tonic. V7 and '1lIº7 chords are Dominant. I'l, IT. bv1 and
bvII chords are aU Subdominant. Hannonic cad.ences in minor keys are based on
motion from Subdominant and/or Dominant chords to Tonic.

-Line Cl iche'
1
I­ I-7
r- t I - ( maj 7)
F-(mai7)/E F'-7/Eb
1.V (l;)o
1

,-' -Harmonic minor II V

b SDM .C�S) )::--,
VImaj7 'II-7D ) . V7(.b9
Dbmaj7
G-7l J C7(o )
9

(�)o '&
zi

SDM SDM
I- V7/IV IV-7 bVI I7
_--::..,
F'7�Bb-7 :-b7
I-6
F -ó► ----= .;,...
º
i e
,Z2 o
[

1
 !
1
Ch.apter 4 Harn10ny 4 20

0THRR MlNOR MODES

-
A.ny mode containing a minar 3rd above the tonic is considered minar. A1though
manv different minor modes are available, the discussion here w:ill be limited to
Dorian, Pbrygian and Aeolian. These are traditianal church modes, with names
. ., from ancient Greek usage. frequently found in contemporary Western harmonic
- practice.
Toe modal qualit;y of any of the Jess familiar modes is detennined by a cáamderistic
note: tbe note in the scale which makes it different fram natural minar (or different
from Ionian for a major mode).
Dorian: Toe characteristic note of the Dorian mode is �6.
C Natural minor C Dorian

e bv bo zz 72

� -0- V §o ll lZ

The Darian mode is Hke a natural minor scale witb a raised 6th. It can be found on
the white keys of a keyboard by starting on D.
D Dorian D Nacural minor
e ll o ll 67

t!!J 72 o ll
O z2 e
V

Toe accidentals far C Dorian come from Bb major. its relative majar. Toe relative
major of D Dorian is C major (no accidentals), a majar 2nd below.
Because Darían gets its modal qtrality from the characteristic note q 6, most diatonic
chords which contain that note are called dzarat:teristic dJonls .
It is important to remember that we are not asing •Donan• as the name far a 11-7
chord scale here; we are referring to a tome .mode. Listed belów are the diatonic
triads and seventh chords in the .key of C Dorian.
T e e

ª
I- II- bIII IV V- vr.,. bVII

n 9-�
1

�oc &�� @'� ''#

�,
e C/A A S) e
b. VIImaj
VI-7(b
I-7 II-f bIIImaj7 IV7 V-7 7

,T
I
bfl
g b� '}j
 Chapter 4 Harmcny 4 21
,..
1
ª
T ª me.a.ns t.aa:i�. The letter "C- denotes a �e charr/, ánd •A• means
.. an Bff1id c/Joni. "CJA• denotes a chortl that contains the characteristic note; bat is
only sometimes modal saciñdíng.

Unli.ke standard minor key hannony, modal hannony does not use sabdominant and
daminant categories. Toe I chord is tanic and the others are nan-tonic.
Characteristic chords establi.sh · the ·modal flavcir, and a resoltrtion from a
characteristic chord to I is a modal cadence.
The dimioisbed triad and the minar 7 (b5) chord are avoided in modal chord
progressians, even when they contain the characteristic note. They are qaite
unstable, do not resolve e.ffectívely to I in these modes, and may imply the relatíve
majar key instead.
The following progression establi.shes the sound of C Dorian e.ffectively.
e �C
e Dorian II- 7 0
vrrmaj7 I-
¿=(9) D-7 Bbmaj? e-
A L
V
-
1 1

:1 -·
-

'- ¿/
� <../ -

_a_ -0- ...LL

1
1 �
' , V
1
-
_1
: ,

The bvnma,¡7 was introduced in Harmany 2 as a non-diatonic cadential chord,

frequently used in modal interchange to the parallel major key. The choro. can now
be derived from the Darian mode. However, when it is used in a DOIHDDlla/ majar
key progression, it is considered subdominaot (related to the N chord).
�. so b SD
F major Imaj7 VI-7 IVmaj7 VIImaj 7 Imaj7
Fmaj7 D-7

r
Bbmaj7 Ebmaj7 Fmaj7

11
1 '
91� E -61-
1
1
ij .
��' z e

The next progression fails to est.ablish C Dorian. even thoagh it is •technicalJy"

correct. C/A
C Dorian? I-7 b VIImaj7
C IV7 I-7
C-7 Bbmaj? F7 C-7
1

t. -

1
¡-
In this example. the F7, althoagh cha.racteristic. is V7 in the relative majar key (BCI).
Becaase of its instability and the hannonic rhythm of the phrase, F7 implies a tonic
on Bb instead of C. ·
 Ch.apter 4 Harm.ony -1 22

The same chord., rv7, has a1ready been seen resolving to I in blues and in melodic
minar progressians. It can also be used in an effective Darian pattern, if the relative
majar soond is avoided. e/ A
.;;i C Doria n I-(9) V- I- ( IV 7
C- G-7 C- 9 ) F7

-1 -
1
�
�-
,_ V
1

, -
1

,,
�
- ---
1
- -i--1
- -
'
-
i
,
1

1
f
"-'
p

'
-- -
1
,
. � ,_ ,
�
-:O- -a.. -f"..!. -i-�<3 _a_

� ' '
\ V
¡ -.- ---· ·
Toe use of a tonic triad instead of a seventh chord increases the stability of the mode.
-
Key Simatur:s:
Nannal majar and minar key signatures are used throoghoat this book. bat modal
key signatures are also possible. A modal key signatare is the same as its relative
majar key signature (BD Majar far C Dorian). To avoid confusion, the name of the
mode (eg: •p Phrygianí should be written along with a modal .key signatare. It is
also possible, but probably � to use no key signature and to add all
appropriate accidentals befare notes.

PHRYGIAN: Tbe characteristíc note of the Pbrygian mode is bi.

C Natural minar C Phrygian

�
-e-
�
08 Z2
8 bv @o l1
Z2

The Phcygian mode is like a natural minar scale with a lowered 2nd. It can be focmd
on the white keys of a k.eyboard by starting on E.

E Phrygian E Natura 1 minar

�"ºe zz e z, e ¡z
ffn
e l2 :; ¿¿ 0
ª1
- ·.;
.:>1
Toe accidentals far C Phyrgian come fram Ah majar. its relativ_e majar. Toe relative
_ majar of E Phyrgian is C majar (a majar 3rd below).
 Oia¡:>ter 4 Hannony 4 23

Llsted belO\v are the diatonic triads and seventh chords in C Phrygian. with the
tonic choro. cbaractedstic chords (containing 02), and avoid cbords ind.icated.

T - be A e
I- I bII I Vº bVI bVII-
,.. I IV-·.

t� e J� b"#i
1

bH &�� ���
�¾
T b? I .A A
V-7
( bS)
bVIrnaj 7 be -7
L maJ 7 ºIII7 IV-7 rr
i '�
I-7

;�:f
. r
1

bj� &>s
® $��
� -ee- /g &;j ;

The brn7 in Phryg:ian is avoided because i t almost inevi tably implies the relative
�ar� �
�nc�nded s'?undb
Ln � Phrygian: III7 I-7 bIII7 IV-7 bVII- 7 bíII7 bVImaj7
Actual sound
in Ab major: (V7 /_I) III- 7 (V7/I) VI-7 II- 7 V7/I

b e
V': b� Z2 -
:C:b7 C-7
1

li ;¡
Eb7

V ¡
F-7
o
il
' ,9
Bb-7 Eb7.-J. Ab
zz
l ' zz 11

'�
'
;'

The following progressions establish the Phzygian mode effectively. (Key sigp.atures
are far the normal minar key, as usual).
e
F Phrygian: I- I-7 IV-7 bIImaj7 I-
F- F-7 Bb-7 Gt>maj7 F-
!)�,bfc é>
' r9
!0 ij6' ¡o ¡l
bVImaj7 e
G Phrygian: I- I-7 IV-7 bIImaj 7 I-

e·
G-

1 r·
G-7/F Ebmaj7 C-7 _Abmaj7 G-

¡'
9,�bj ! ¡-' •· : ¡,J_ ! J. !f
e e e
bVII-7 b I!maj 7 I-7
' (',,

A ,Phrygian: I- 7 bVII-7 I-7

" A-7 G-7
e-:-
A-7 G-7 Bpmaj7 A-7
Q'c o . 8 1 Z2 :3 &.J ; n
 Oiapter 4 Harmony 4 24

1Thnaj7 was inlroduced in Harmony 2 � a non-diatanic cadential chord. lt can now

be derived from the Phrygian mode. However, it is �tly ased in llOIHI10da/
• •. J majar ar minar key progressions. In these sitaatia,p.s..-. bnniaj7 is considered a
subdaroioant minar chard, related to the IV- and II-7 (t>aJ chords in natural minar.
It does contain scale degree �. common to all subdominant minar chords.

SDM SDM (' S) bSDM

o
IV- II-7 Ilrnaj7

¡,� g'g -0- o �a Z-2 o !2v

�6
�6'

b S DM .�
:, - I - ( V7 / I I )
� . I- V7 /! ::naJ. 7
1
( ;; l lJ yrm�J,
" F-
1
C7/E Abmaj7/E:b D7 ,.,.- -->-DomaJ7

A :;
-e-- -61-- --61- ?:T

: .
l. - ,,.,
'
1

' 1
.' SDM bSDM
II-7 ºvr& V7 IImaj 7 Imaj7
G-7 Db6 C7 Gbmaj7 Fmaj7
¡ ' 1

- -
1' 1 1

-
'
' -d-
�
.;- ....... -z:j-
,
-d- :e=
-

, : -- ,
� ,_
- '

f 1
) yr ....,

(�
.

i
L

.-
:-· . ·-:- . ,•,•. ;._
 Olapter 4 Hamiony 4 25

AEOLIAN: The AeoHan mode is identical to the natural minar scale. and therefore
does not have an unusua! modal quality. Most minar key hannony, however, draws
.i
1 on natm"al. harmonic and possibly meJodic minar c.ñotds, as we11 as secondary aod
substitute secand.ary dominants. When a piece of masic is composed ezr:lo.sin!ly of
Aeolian chords and cadences� it does have a "modal" sot.md.
Toe characteristic note of the Aeolian mode is�- Toe mode can be found on the w:Wte
keys of a keyboard by starting on A, and its �lative major is a m.inor 3rd above (C
major).
A Aeolian = A Nacural minar
o a -0---
o z¿ o ¡¿

Llsted below are the diatonic triads and seventh chords in C Aeolian, with the tonic,
characteristic and avoid chords indicated.
T A C
b
!- II º III IV- V-

&* ...
b� i� b �3 w�
�
A e
I-7 II-7(b5) 0
II Imaj 7 IV-7 V-7

bg ¡: 1,t�
� ii ifi
Toe following progressions
. establish the Aeolian mode e.ffectively. . ..
e e
D ..
A ea 1 1.an:
· I- V-7 b,
V;EmaJ· 7 I- I-7 be
VImaj7 IV-7
D- A-7 Bbmaj7 O- D-7/C BbmaJ7 G-7

91b$ 0 ¡; 1 :
1 1

!' z) 0 J
,0 C-
I- ºvrr vimaj7 I-
D- c<9> Bbmaj7 D- ·/-

�=pe ¡ 2; ,9 !1
e
b VImaj7
e
G Aeolian: I- I-7 bV!I7
G- G-7/F Ebmaj7 F7

9'&§¡ J. ! J. -6'-•
r e e
I- IV-7 bVII7
G- ;l. e- 7 F7

@·' ;. J. ¡ j_
I-
.. ·/.,

---¡ J.
G-

Wi ;. \1
'
l ...

\..

. . _.:- ; �.. - .. · ·: . · ..
 1
Cha.pter 4 Ha.rm.ony 4 26

MAJORM.ODES
·-·
Any mode containing a majar 3rd above the tonic is considered majar. (It is rare but
·a
possible to bave mode with both a majar and a minar �kd: this woald be a special
case). The major church modes are Ioni� Lydian and Mixolyclian. Ionian is ow­
majar sea.le. The others \vill be described in tenns of their characteristic notes: those
notes which make tb.em different from nannal majar (Ionian).

LYDIAN: Toe characteristicnote ofthe Lydianmode is #4_

C L.ydian

.., 77 e 27 o ª; Z7
CZ .&
li

The Lydian mode is Hke a majar scale v.rjth a raised 4th. It can be found on tb.e white
keys of a keyboard by starting on F.

F Lydian F' major

72 o ZI
Zl ¡¿
Z-i 0 z:z
V O ?)

-tt .:r
.. _.

Toe accidentals far C Lydian come from G majar, its relative majar. The relative
majar of F Lydian is C majar ( a perfect 4th be!ow).

Listed below are the diatonic triads and seventh chords in C Lydian. with the tonic.,
characteristic and avoid chords inclicated.
T e A e
1 II I Il- it IV
º
V VI- VII-

� #ª � i��
i §

T C/A A. C/A
Imaj 7 II7 II 1- 7 //IV-7(b5) Vmaj7 VI-7 VII-7

� i #H s 1r1H fj g g;
The II7 (CJA) is similar to N7 in Dorian in that it may imply the relative majar key.
C Lydian? Imaj7 II7 Vmaj7 Irnaj7
o Cmaj7 D7 Gmaj7 Cm j7
1
-
. � �,
J
- -
..., ¡,-
_;;
"'
,
� -

- :
..... ---P-
�
- ......

1 �
In the example above, D7 to Gmaj7 sounds like V7 to lmaj7 in G, and Cmaj7 sounds
like IVmaj7.

·....:...

....p,.••-····- .
 Chapter 4 Hannony 4 27

Toe Vmaji (CJA) may sound like I in the relative major. even if it is not preceded by
07.
e Lz:di.an? Imaj7 Vmaj7 Imaj 7
Cmaj7 Gmaj7 Cmaj7
3
�-
1

I
.I ,, �· ��
,·o• -

,,.., . /"9.

-.
,-y'
"
\ '
> 1 1
In this example. the progression really sounds like IV. I, IV in the key of G. In
general, the relative majar is easily implied., simply becau:se majar key chord patterns
are so familiar.
Il7 has already been seen as a special ftmction dominant 7th. In the Lydian mode,
the II majar triad is usually more effective. Vmaj7 can be used if the harmoni�
. t'-'
·
rhythm is carefull_y controlle<L and the I chord emphasized.
The follow:i.ng examples establish the Lydian mode effectively (normal majar key
signatures are ased). e e e
Bb Lydian: Irnaj7 II Imaj7 VII-7 Imaj7 · II
Bbmaj7 C Bbmaj7 A-7 Bbmaj7 C

.
l. ,¡,;. 2

... 1
Imaj7 Vmaj7 Imaj7
1 .Bbmaj 7 _ F'maj7" Bbmaj 7

'

' r
e e
F fi- 7 CI'¡- 7
D Lydian: Imaj7 VII-7 III-7 VI-7 VII-7
Dmaj7 Cfí- 7 B-7 D D
-
� ll, 1 1
- --r-
--6'- ·�-- � " - -
-

--
-

-� 1

- --
1
-
1 "' 1
 Cha.p ter d Harmony A 2&

MIXOLYDIAN: The characteristic note of the Mixolydian mode is bJ.

e majar C Mixolydian
Z? zz
Zl
27
,:9 a

Toe Mixolyd.ian mode is like a major scale ·with a lowered 7th. It can be found on the
w:hi te keys of a keyboard by starting on G.

G Mixolydian G majcr
z-z 0 o a
él a O 22
o 6' V 0

Toe accidentals far C Mixo!ydian come from F majar, it.s relative major. Toe relative
majar of G .Mixolydian is C majar ( a perfect 5th below).
h
Usted below are the diatonic triads and seventh chords in C .Mixolydian. wi t the :7":....,.
tome, charact.er.istic and avoid chords indicated.
. .....' e e

ª
A
I II- III º IV V- VI- bvrr

�§1 il o
r�
ffei �@
·� ¾
T A ) e
I7 Il- 7 III-7(bS IVmaj7 V-7 VI-7 b VIImaj7
C

i SJ &T
... :..:

·� !J H bl 11
. :,!'!
·�·-1
·-

The. 17 chord in M.ixolydian contains tbe characteristic note, making it a

characteristic chard as well. The chord is of course a to.nic blues chord, and only
becomes a •modal• I cbard in the presence of a Mixolydian cadence. The I majar
triad and the I7(sos4) are often ased as Mixolydian tonic chards, since the I7 could, in
sorne cases, imply the relative majar_
e Mixolydian?
17 IVmaj7 17
C7 Fmaj7 C7
V' e (1
¡¿
!1
The progress¡on above reaUy soands like V7. lmaj7, v7 in the key of F becaase the
sound of dominant cadence is so familiar.
 Chapter 4 H:armony 4 29

The fo1Jowing progressions establish the Mixolyd..ian mode effectively.

'f' Mixolydian-:
.,
csus4) e 17(sus4) e
.

17
bVII@aj7. V-7 I
7 ( sus4) F7(sus4)
F EbrnajJ C-7 F
1

� -z,-- .,,_ . y -j;f- -z,-- -61--

"'

.e e
ºvrt
Db 9) C-7
Eb Mixolydian: I VI-7 V-7 I C
II- 7 b VIImaj 7 I
Eb 3b-7 Eb(g) F-7 Dbmaj7 EbC9)
� 1 1
-
1
- 1 1 1
-� -
/,
� P- � �
-z;,-- ¡;...-
i!
11
.
·�

,
�
.. 1 • 1
--
¡ 1

Both V-7 and bv1Imaj7 are familiar chords from the Dorian mode, but are considered
M.ixolydian cadential chards when resolving to I _ m,;ya,-.

AVAILABLE TENSIONS
Available tensions for chards in the mcxies are like tensions for diatanic majar key
chards: 1) they must be available on tbe given chord, and 2) they must be diatonic to
the mode. Far example� an E-7 chord. can take tensions 9 and 11.
E-7
--,&,-

r9
c9 *&
61
t9
1 b3 5 b7 9 11

In the E Pfµygian mod� however, the note F# is not diatonic. F q is diatonic,. but
woald be a�- which is not available an a minar 7th chord. Therefore� a Phrygian I-7
chord takes tension 11 only.
 Cb2pter .4 30

The characteristic notes of all th.ree minar modes (Dorian, Phrygian and A�j.ian) are
naid notes on their I chords. We will make an �ption far the Darian mode here,
bat other modal voicing techniques musfwait for •Advanced Modal Harmony". The
modes are established barmonically wi th modal cadences.
. .
'' To voice a � 6, ar tension 13, on the Donan.-i-7, use an opper nnrtroe triad.

D Dorian:
D:- 7 0-7
.�
/
' - -. (:. -
..,.)
-� G

◄
�,
-- -� . D-7
' ' -o- '1 '
D-7 '
'

As illastrated above, a Dorian voicing can be created with an apper strm:tare triad
above the original chord. The first is a minar triad a whole step higber, and the
second is a majar triad a perfect fourth bigher.

The chord symbols far upper stroctare triads can be called r.Dltfroand dlanl
�Ar A compoand chord symbol with � DcMDwW 1-, li.ke tbe ones �
indicates a chord overa tjiord - two chards played simultaneoosJy. A compoond
chord S)'1]1.bol with a diagoaa/ li.ae, like the anes below, indicates a chord overa
single bass note.
.
E - /O = �i:.- 7 (3 r d 1nvers1on G/0 = G (2 n d 1nvers1on
.

--
,4-

J
-
....-

J
. -

�
�f Á chord over a single bass note may represent an inversion, as above, ar a hybrid
voicing of the kind � later in this book.

·
1 ,
.___ - -
.. ,_ -�·-�---. ·-�•··-.····••'••.· .-----·---•-•··--·-. __,...,...__,.___ �----...;.-:-'.....,. ....�,-
Chapter 4 Ha.nnony 4 31

Toe characteristic notes of the two major mooes are available on their Lcbords.
Toe Mixolydían mode's h7 is a chord tone on 17, and the Lydían's #4 becomes tension
#ll on I major in any form. Tension #ll is frequently a member of an upper
structure triad.

(1 3 \ (13 \
i!11\ !l l J/1
C Lydian: D Cmaj7 9/ D
e \. 9
Cmaj7 C (criad)
1 -
l1.,

y
J U) j)

◄
-
-�
-
1

, Cmaj7 ;

'

Tensions an other modal chards ,;,vill be available on the chord and diatonic to the
mode. Melodic approach notes should be either díatonic or chromatic, and are treated
as usual.
 Chapter 5 lliirmony .1 32

MODAL INTERCHANGE

We have already examíned the use of stibdominant chords from nataral minor in the
·-� parallel majar k.ey. This � called. modal interchange, accounts for severa! very
.j cornmon cadentíal pa�.
F:
SDM
Imaj7 V7/IV Nmaj7 IV-6 lmaj7
�
Fmaj7 F7 1 B%laj7 Btl-6 1 Fmaj7 1 1

SDM SDM
lmaj7 V7/IV IV-7 b\ln7 1maj7
�
Fmaj7 F7 1 Bh.7 Eh? 1 Fmaj7 1 1

SDM SDM
II-7 (V7/D hvlmaj7 l:nmaj7 Imaj7
G-7 C7 1 D�aj7 CAnaj7 1 Fmaj7 1 l
-·'

The use of the harmonic minar II V in the parallel majar key is another common
J. fonn of modal interchange.
F:
· Imaj 7 subV7/II 11-7(b.5) V7/I Imaj 7
Fmaj7 AUT,---,--�G:1<b5) c?<b9li1naj111

Modal interchange, th.en, is a process invol:víng the use of chords from one mode in
the harmonic context of another parallel mode. lt can also be descnbed as
btnlMÍiJI' a chord from a different mode on the same tonal center. The borrowed
chord. � the sotmd of its own mode without acamlly modtdating to tbat mode.
Theoretically, any chord from any mode is a potential modal interchange (MI) chord.
However, some chords are used in MI more freqtient):y tban oth.ers, and sorne almost
never OCCt1I' in other modes.
. �:..• -
/!! We may begin by listing the possible chards for each scale degree. We can then
determine which of these are commonly ased MI cbords and. how they are ased. The
�able chords are Usted below (tri� althoagh not Usted, are of comse available
instead of seventh chords).

. ·,

. < _..-.•, ..• .:.,

 Oi!ipter 5 Hannony ,1 33

SCALES FOR �LE I CHORDS

Chord Modal Soorces

Imaj7 --- Ionían, Lydian
16 loni� Lydian
1-7 Aeolian, Darían, Phrygian
1-6 ijelodic, Dorian
I-(maj7) · Hannonic, Melodic
17 ar I7(sus4) Mixolydian, Blues
These are ali frequently used MI chords. Same progressians are actually based an a
series of different I chords.
Imaj7 (Ionian) ( su 4) (M.ixo 1 y d.�an )
17(sus4)
Dmaj7 07 s
1 � �

¡
..
--· - --
,1 -&- b-e-
16 ( iíll J (Lydian).
Imaj7 (Ionian) E
Omaj7 O (triad)
1 - ..,

.' _...,

1 'f

(Ionian} (Lydian}
Imaj7 I-7

- ---
A- G
Fmaj7 (Ionian) F-7 (Aeolian} r'
�
- 1
-· - - -·
F
-

�
1 r
J �
,. 1 -
1 1 ----l. ._ - 1

� . -� ::fl='
- ·1t=-�· ,L�•
�
�
(Harmonic) (Dorian) (Ionian) ..
e G­ -e
r- 'r-7 F
� !,� ¡ 1 1

- .
!.re- /. =

1
·7
5
Oiap ter .. Harmony 4

Other tunes modulate freely between parallel majar and minor keys.

b
� vrma
F': I- Eb-7
F- Ab7.
Dbma j¿
ve& e o ibrz lbs
- S)
;' z)
11-zb(b V? /I V7/II
S ) (b9)
G - .,1
1 S7�maJ7 lma�? A,7(b5) 07Ll29) �
1

VII-7(bS) V7/VI
E.-7(bS) A7(bg_) · VI-
G-7/F ------'------' � D-
o 1
j
(2 &
l

When a chard can be derived from more than one mode, the choice of chord sea.le and
available tensions may be determined by the composer, arranger or perfonner. If the
melody does not clearly indicate a sca1E; the barmanic cantext should be con.sidered.
The following guidelines will work in most situations.

Imaj7 and 16 are normally Ianian tm.less #11 is indicated by the melody ar chord
symbol.
I-7 is nonnally Aeolian,. althoagh Dorian is becoming amare frequently ased
tonic mode. Phrygian is indicated anly by the chord symbol ar a melodic b:2.

H is nearly always melod.ic minor.

1-{majD can be either melodic or harmanic minor.

ll is astrally interpreted as a blues chord. In a series of different I chards.
however, it is asaally Mixolydian, and J'](sus4) is nearly always Mixolydian.
 .1
Chapter 5 Harmony 4 35

POSSIBLR Il CHORDS

Chortl Modal Sources

II-7 Ionian, Dorian. Mixolydian. Melodic
II-7(� Aeolian. Harmonic
bJJmaj7 Phryg:ian (also a subdominan t minar ·chord)
II7 Lydian (normally a special functión dominant)
A MI chord other than I will take a c/Jord sea/e that is diatonic to the mait:.mode
i t comes from.
11-7 in a majar key is nonnally from Ionian. so it takes a Darían chon/ sea/e.

-
..
F' Majar: tl- 7 ..

f Ionian G-7 (Dorian)

i¡ q
&
o z:z
�
zz Po zz 6' ll bo z, &

1 T9 b3 Tll 5 (6) b?

II-7 in a Mixolydian modal context:. on the other hand. would take an Aeolian �
a:ale.
F Mixo : II- 7
F Mixolydian G-7 (Aeolian)
6h iir�
'º i2 Z'Z
:l &e :1
&
z::z 0
zz zz 0
(1 t!!' t:l o
� 1 T9 b3 Tll 5 (b6) '· b?

Il-7 in a Donan modal context would take a Phcygian d1anl sea/e .

F- Dorian: II-7

9 )a 11 6'
1
G-7 (Phrygian)
1
Zl
li- pe 72

1 (b2)- b3 Tll 5 (b6) b7

-
II-7 in a melodic minor canten would tak.e a Phrygian q 6 dJard sea/e .
F- Melodic: II-7
F- Melodic G-7 (Phrygian, �6)

12 ,9
22 6'
ZZ 11 B J,. zz

1 (b?) ·b3 Tll _ 5 (6) b7

By using these less familiar chard scales, 11-7 can somid like an MI chord - it can
imply a tonic mode oliler than lonian.
Althoagh we will not list eveiy possible chord scale far eveiy cho.rd. this same process
can be applied to any MI chord.
 Cb.apter 5 Hannony 4 36

Il-7(b5) is normally found in a hannonic minor JI V. In a minor key it always

takes a lpcrian chord scale, but \\ihen used in a major key as a MI chord it may take a
Locrian � 9 scale.

b5) S)
.
F m1.nor: r-1- 7( F Major: II-7(b
G-7(b5) (Locrian) G-7(b5) (Locrian q9)
1
'º 1
1
e :�zz
b• 'º 72 �&
¡2Z:2 ¡',:º '.
r;)z 2 &o 22
& i

1 (b2) bJ Tl l b5 Tbl3 b7 1 T9 bJ Tll bS Tbl3 b7

Toe A� ( � 9) in Locrian � 9 above is conside..red appropriate in F majar because it is

the majar �kd of the key.

II-7(b5) can also resolve up by step to bfIImaj7 and down by step to I.

II (.,6(bS) ·­
I­ 5 ) bIIT_maJI IV-6 I-6 IV-6 .,
F- G-7 Abmaj7 Bb-6 F-6/C Eb-fr ?"-,,,
I
,,
l 'J
L 1

"
-
-
1' 1
-- -
1 1
fl
--1-
-) -6- "' J

◄
4-P-- �-.a-
-
- � ,:'>- -P-
J
. - ,_ l. .,
•J
'J ,a
�
- -f -
.1 ,_ l 1 1
I-7 II-((bS)
S) Imaj7
F-7/Ab G-7 b Fmaj7
� 1 ' 1

...-
1 J
/1

Other pattems far Il-?(b5) would be extreme1f .rare.

.,,..,
..�
. '•):
:
-�:- :• . ·-· •: ...... . . ·. :-
 Olap ter -� H:armony 4 37

l::nmaj7 always tak.es a Lydian chord sea.le (d.iatonic to I- Phrygian).

bIImaj 7
C- Phrygian Dbmaj7 (Lydian)

��
l? o bzz &a ii&o �o l2 c9 i'V �&
Zl
:1
l T9 3 T!/ 11 5 Tl3 7

\Vhen used in a simple majar key context it is generally considered a subdominant

minor chord.
SDM SDH SDM

:! �J IJ
Gmaji D7 Ebmaj 7 Abmaj7 Gmaj7 C7 3bmaj7 Abmaj 7 Gmaj7

r z1 iwd 1 11
1
A
1

©1$J·
i

¡; z) &

In a more �mplex harmonic cantext,. bIImaj7 sounds more like the characteristic
Pb.rygian chard i t is.

E- Fmaj7 Emaj7 B7
!� r
E minar: Cmaj7
a a
l t9

A-7 Fmaj 7 Emaj7 E-

12
-t9-
'.l
Il7 usually OCCtirS as V7N. When it resolves to I or IV it is considered a speciai
ftmctian dominant chord. Therefare. it can rarely. if ever. be heard as a Lydian
Modal Interchange chord.

-
.
 Chapter ;) Honnony 4

POSSIBLE m CHORDS
Chord Modal Sources
�
---
ITI-7 lonian, Lydian
bf11ma·7 Dorian. Aeolian
.., btlhnah<#5) Hannonic. Melodic
-.;{¡
btn1 Plrrygian
III-M�) Míxolydían

fI1=1 normally takes a Phrygian cho.rd scale. An Aeolian chord scale would imply a
torne Lydian context.
I II - 7
C Lydian

-&
E-7 (Aeolian)
2:2
o 22 o 2?
I ---0- O

qTlmaj7 a familiar natural minor ch� takes a Lydian scale whe.?l used in a major .,
' key. In a tonic Aeolian context it takes an Ionian chord scale. · • ;'-;:-•-'
bl!Imaj7
Ebmaj7 (Ionian)
rz !,o '6 j! y61 ?1 e Í,v
l?

1:lmnm;1(-IS) takes a chord scale de.rived from either melodic or hannonic minar.
S)
b!IImaj7(/IS) ºIIImaj7(1/

L
7 <ti 5) ( IJS)

pw
Ebma. j ( ftom C Me 1 od ic) Ebmaj 7 (from C Harmonic)

� &0 zz e (!¡)u (qlo º & :!�6' Zl e, ba ª

� is heard as sub\17/IL oras a l.inking chord in a blues context. It is therefore
not considered a real .Modal Interchange chord from Phzygian.

W:1(b5) is also freqoently used as a linking chord in blues progressions. However, it ·

is clearly related to the Ii chard in Mixolydian and takes a Locrian chard scale.
III-7(bS)
( b5) · ·
E-7 • (Locrian)

%7 ª �e 11 0 22
z-z ¿¿

ill-7 (b5) is asually fucmd as the related Il of V7ill.

9)
Cmaj7 B7- ) E-7(b5) A7i]? ► D-7 G7� Cmaj7

6)' e;
�
72 J V ¡ ,:9
é1
. ¡ zz ¡1

- .
. : ,·
•'..:.;.. .,.": •' :-:-
 1

Chapter 5 Hannony 4 39

POSSIBLE IV CHORDS
Chord ModalSource
IVmaj7 Ionian, Mixolydian
IV7 Donan. Melodic, Blues
IV-7 Aeolian, Pbrygian. Hannoníc
#JV.7(b5) Lydían

JYmaj7 t.ak.es a Lydian chord. scale.

M. is usually heard as a blues subdominant chord.. As such, it generally takes a
Lydian b7 ora blues scale.

W-1 takes a Donan chord sea.le. The IV- triad, IV-6 and IV-{maj 7) chorrls are a.lso
used as Modal Interchange chards in the parallel major key. IV-6 and IV-{maj7)
take melodic minar scales. (IV-6 may also take a Dorian scale.) .....:....
� is. considered an altered Stibdominant majar chord. and therefore does not
have Modal Interchange ftmction.

PQSSIBLE V CHORDS
Choro Modal Soarces
V7 Ianian, Melodic
V7(b9) Harmonic
V-1 Dorian, Mixolydian, Aeolian
y.7(b.5) Phrygian
Vmaj7 Lydian

YI. and n(b9) are virtaally the same chord. v¡(b9) has a greater tendency towards
resolutian and suggests a tonic minar key.
Y::1. is nannally fotmd as the related Il of V7/IV. When it moves to a I majar cbord.
however, it is an eJiective Modal Interchange cadential chard which asaally takes a
Darían chord scale. A Phcygian chord scale on V-7 wotrld imply a tonic nataral
:.- - minor cantext.
e- ·e- 7 ( Phl;zian)
:

°':J ���� e-
...
�
,>
• •>
>
¿> >
oíl 1 p
,9 ll Q
ti
r>JJI
'r r >>
;.

,�v,, bo
Cmaj7 G-7 (Dorian) Cmaj7

�
•>> 7> •¿l '>.7 &
ti
r r r,
I ry � :y
·:. 1
' .
:__ j�

,•,'j
: ,',,•:•···· .
... ,
...

. . _- . . . '• �
 Chapter 5 Hannany 4 40

v-'l(b5) occurs only as the related IJ-ffe) of V7/TV, and is not considered a Modal
Interchange chord.

Y1Jlilj7 is a possible Modal Interchange chord, but difficult to establish, since in

context it tends to soand like a I chord..

Imaj7 Vmaj7 Imaj7

C.maj7 Gmaj7 Cmaj71 I

(really sounds lik.e)

Nmaj7 1 Imaj7 1 Nmaj7 l 1

Rhythmic emphasis and dm-ation on I can- help to create the smmd of a Lydian
cadence from Vmaj7.

- - :+r
Vrna j 7 Vmaj7

- -·
Cmaj7 Crnaj 7 Gmaj7 Cr:iaj 7 Cmaj7 Gmaj7

-·
: '
u : ; •
�
1 1
1
:•
1

- 2 ., ; - - :• ¡; $• •·. 1
J
�
�(

P(ffilBLI VI CHQRDS
O,ord Modal Sources
VI-7 Ianian, Lydian, Mixolydian
VI-7(b5) Dorian, Melodic
hvlmaj7 Phrygian, Aeolian, Harmonic

Y.I::1 nannally takes an Aeolian chard scale_ Witb a Dorian scale it implies a Lydian
tonic mode, and with a Phrygian scale it implies a Mixolydian tonic mode.

A-7 (Aeolian)
a
'9 zz e, (2
zz
q
.Jo.

e Lydian A-7 (Dorian)

a
� __.... ,, ., iffn 22 éJ zz
¡1
A-7 (Phrygian)
i- .'
<Z

jj
r9 ll
tt ,9 22 :;Z-Z && ?2

·� --
-. :-(� ....,.-:.,. ..:e•:·:.=<•:.::/,·.- ·. ·-.·�:·..-:-:,�,,..::-,·: .-:,'.,' .. � .. .; .. :-, :: ;, ,.:,.,,_,.; .;
•:•·_ .; ;;>::,-: :·-::�·· :• ·, :-_: :-:•
- ...,..
•:.;:�!..-•-,- -�'.:.�:-·:-:-,:-��..,-�-:,,�::'"""'.-"' _-•...,.� - --'; ---··�---...-.....-......,�--•·•..,,.....
 Harmo.ny J

VJ-7(b5}is usuallv heard as a melodic minar chord, and therefore takes a Locrian
� 9 choro scale.
.'
.. .J

C Melodic Mino,
a
� zz :1
bvlmaj7 normalJy takes a Lydian. chord sea.le. Wlth 311 Ionian scale it implies a
tonic Phrygian .mode.
"-vr:naj7
C ?hrygian Abmaj 7 ( Ionian)
o
?o
i1
1

¡:¡ 1a o
�-- Vv ?e
zz

POSSIBLE VII CHORDS

Cbord .Modal Soarces

\'11•7 (DE) Ionian. Melodic

�1Imaj7 Doriar.1:- Mixolydian
oV1I·7 Phrygian
Vll•7 Lydian
byu¡ Aeolian
\:1I•7 Harmonic

Yll:I(b5) usuaily occcrrs as the related II of v7/VL and is typically precede<l by a I

chord. Its chord scale is Locrian.
V7/VI
Cmaj7 E7 ( �� A-

It is rarely, if ever. a:sed in a cadence to I.

byJJmaj7 is a frequently used cadential chord,. and in majar keys takes a Lydian
chord scaJe. An Ionian chord sea.le would imply a. tonic Dorian mode.

.© C Dorian
b VIImaj 7
Bbmaj7 (Ionian)

ll o ¡i t0 11 Z-2
Z-l
:¡

.·.- . ... .
.. - ..
. •.,:¡ . . .. , '• ' .

. ,
 Hannony 4

bvn:-7 . although relatively rare. can be an eíTective cadential Modal Interchange

chortl. It t.ak.es a Dorian chord scale.

VII-7 is also a strong Modal Interchange chord. especially when going to I. Jts
chord scale is Phrygi;:m.

bvn:7 is a familiar SDM chord whlch takes a Lydian h7 scale in majar keys, and a
Mixolydian scale in minor keys.

vn.-¡ sotmds iike the first inversion of \l7(b9JJ. Its scale is based on the tonic
hannonic minar.

0
VII 7
. C Harrnonic Minar °
3 7

ll
o ¿-7

. ·J
 H ==y .:l

PEDAL POINT AND OSTINATO

Pedal point deri'ves its name from the organ. an instrtnnent with pedals arranged
like a keyboard for bass notes. A single bass note sustained through a series of c.hords
is call ed pedal.poiDJ- .

In most cases. a pedal point is sustained on the tonic or doroinant note of the key. The
following examples, although bland, are typical uses of tonic and daminant pedal
points.

• Cmaj7
71

Cmaj7/G
D-7/C

D-7/G
: 22
E-7/C

E-7/G
Fmaj7/C

Fmaj7/G
E-7/C
_ ¡ 71

E-7/G
D-7/C

D-7/G
Crnaj 7
tz

Cm.aj 7/G
1

6J f a
l :
'& 'O 'B :1
.,.
-�

Because a sustained pedal point creates a strong feeling of continuity within a key. a
high leve! of tension and dissonance is acceptable above the pedal. Even •·wrong"
notes soundgood iftheyresolve ·to availab!e notes.

fmaj7 E/F Eb/F E/F

--- -
6
.� >- - #
'.
,
,, �
� ��

F
-�

-é>- ,---z:,- ·� -

. - - - ¡
.,
-
-
.,
,.
J ,
1 • o 1 � ' ..... 1 •

'The pedal in the example above is slightly rhythmicized. Some pedal points
enipbasire a my'"Jimic motive.

ru, -
Gb/Eb
- ¡\ >

i �-
.
91 bh¡, --¡- v i
Fmaj7/Eb

1
- ¡\

,...
::> -
§ 's-· ;l'
Emaj 7 LEb Ebmaj7

-
-
� •
¡\

i '►•
v
>

í
..·...·.·.. .
1
1
-• • ·--·· -• ••••- ·--· ·�. • • ! ., �•-• -v·�· •. • • •�' • .....
--
 Chap te.r 6 Harmony 4 44

. .i\.lthougha pedal point is usually the bass note, internal and soprano ·pedals" are
also possi ble.

'.,
Eb Emaj7 f7 Emaj7
L 1 1 ..

-- - -
d ,� , ,�
'\, � � ,
,
-� - � - - - -
1! i1

1,_
◄

1 1 ! !1
" �- J j 1 1
- .
l.

-.
l
-- ..
l 11
1
,
1

r
,
', .,. �

r
.

r-
_,_
1
/

'-'' -#-
�-0-•
1 �.9-•

A repeated figure invoh,ing more than one note is called an osliaat:o. Like pedai

�-
point. it usualJy occurs as a bass figure. but ít may be written in other ranges as
�

Ostinato figures usually emphasize the tonic of the key and often employ strong
rhythmic ideas. The examples be!O\v represent sorne _ c�only used ostinato
figures. - " •.· .: ·.
G maJ. 7

9•*4 J. V 'V :-v il

?(sus4)
G

y¡ ;¡

Pedal point and ostinato are often aseful in modal contexts,· since they can serve to
establish a strong sense af the tonalicy...L\n ostinato can include both the tonic and
characteristic notes of a mode.

i.-

-
�. . . .· . .. ··· ... ··:·. :· ... -;
 1-G...-rn.ony d

Fmally. hi:-o or more �tili..ato figures ln.'.ly be used together in different ra,.�--es to
eren.te a layered ostinato effect. Rh:-,thros musrbe controlle<l to avcid ccnilicts
t.vtüch could be perceived as playing mistakes. Toe follov.ing examples could be
use<l to est.ablísh any C minor tor-..ality.

�
� ✓
-
, ,

1
'
◄

•
1

i r61 1.
- - -·
-� . , �
-
---· - -- - - - -y
'

---· -- -�
-�
� ;. .
--
y
� ,

T
✓

.L I
�

"'�.

r· y � _,_.
1
-,-.
1

Pe<lai point and ostinatc are frequently ased for int:roductions. interlmies and
endings. bat they may also be used 1.'1 the main boáy of the mu.sic.
' '
►· '

' ,• .. : :•,•·
 H�1.rmony <l 46

COllPOUND CHORD SYMBOLS

C:ompomid chord s:,mbo1s may be l_!Sed. to represent two kinds of stractures:

l. A chord over- a chord: Gb

C7
A chord ov-er a chord js called an upper structure triad or upper strocture
seventh chord. and the notes of the crpper stnrcture are interpreted as upper
extentions of the chord beiow. (b9)
Gb Cl bS

-�=�
c7

�
(�gj, �§·§bq�-L�1�),_;===:E Gb
�
l I

�F
--6l-- -3
¡_r,-:,, _¡,1
i
�C7(no5�h)

Toe example above is an upper structure tri.ad voicíng for C7 (� 1 This kind of
voicing is sometimes called. a "polychord". since it combines two chords 1;1;biei.1.
can be 1:1.eard both serparately and together as one voicing.
Gb
c7 F (triad)
I
� --- �
1 �
.
13 i! 1.-J
� .-
V•� -..� '! -:-

◄
\J

-
--
j h ,.-, 3
FJ 5'
c:;7 J.

A chord overa. chord is correctly written with a horizontal dividing line. while a
chord over a singie bass note uses a diagonal line.

I G/F

\. -
However. this distinction is not universalh- observe<l. and it is useful to la.bel a lO\\l"e!'
structure that is a major triad: G. -
F (triad)
 Harmany 4 J.7

II. A chor9- over a bass note: Gb/C

A chord wer a single bass note is usually one ofthe follov.ing:

A . An inversion: GO/Bb .

\\'hen the bass note is the �kd. 5th or 7th of the upper strocture. the v-oicing is
interpreted as an inversion (one exception \Vill be discussed iater). T'ne
following are all inversions of C-7:

C-7/G C-i!Bb

(Toe chord � has the same notes as C-7/Eb, so the specific interpretatian
must depend on the musical conte.\t at the time).

B. A .hybrid structure: Gh/c

Vvben the bass note is oot the 3rd. 5th or 7th of the upper strirctare... tbe _,
voicing is interpreted as a hybrid structure. Toe following example, C-�
is not e-.. 7 over i ts 11 th. beca.ase the ear does not perceive bass notes as
tensions. The voic.ing actually soands like, and therefore .is, p7sus4) or
possibJy F-¡(sus4).

C-7 /F'

-:J.

A bybrid voicing typical!y does not contain the third of the chord i t represents.
Ifwe reduce our first example. Gb. to ahybricL it becomes Ghtc.
Gb
c7 Gb/C
·- -
1 1

u- "'r b1¡,,
'
u-
V -

.j.' � 1
◄

-'.
, ..
P0LYCHORD HYBRID .
 Cn�ptar 7 Horn:um.y .1 4.S

b9
A.lthough the hybiid <loes not contain an E. it still represents the sound of C7 b.�.
and \Voul<l normally resolve to F major or F minor. These voíC'll1oO-S. then, are
characteristically ambiguous sounding, because the 3rd would nonnally
establish a major or minor quality, and would also create a tritone for
dominant 7th chords.
The foilO\\'ing are sorne typical hybrids:
07(sus4)
or )
fmaj7 ( llll

i
G/C C.naj 7 A-7/D "' D-7 Cmaj7/F
I ... '
t
� 1� b1
5
:Tt,,1._
�

1
1f '1
�
1
'I;
1 � 9 -
� ;
1
�
1
'- .. .� .t
''
.. ::-- ;t
. '

'--""-;!.

ANALYSIS OF COMPOUND CHORD SYMBQLS

Toe use of a compoand chord symbol <loes not in any way change the functional
- of F. then Gb and Gblc are also \-7 in the
analvsis of the r:hord. 1f C7 is Vi in the key
key of'F. C7
Any inversion of C7, such as Cí/G, also rem.ai.ns v7 in F.

POLYCHORDS: A chord overa choro is analyzed in temlS of the function of the

ÍOfllf!r st:rncture. The rrpper stroct:m-e simply represents tensions or extensions of
the basic chord. The following progression is analyzed in-C in terms of the lower
structures. The lower _strnctures do not contain 5th's. which are considered
unnecessary unless al tered.
�
C: Imaj7 V7/IV 1Vmaj7 bIImaj7 Imaj7
G Gb E-7 C- G
.-
F (triad) """D 9m-a�j�7 CmaJ7
--
"CiiiaJ7 'CT1
�
-' -�
1
� "
-- �
l
-
V
V
¡¡...- " ....... V

. -

,.
�
,.., h/'7
y
�
- -
-G'-
�
,..,,
,
, .i J
V
1 ,..,.
..
1

. _ .. ·' -:• , •, •- .
 Chapter 7 Harmony 4 49

INVERSJONS : A chord over a bass note that. is its ard.. 5th or 7th is an inversion.
and is analyz.ed as if it were ü:1 root position. Toe following example represents
basicalJy the same c.½ord progression. hcrt uses inversions inst.ead of polychords. Tne
sound is characteristicall_y less coniplex.

,�
C: Imaj7 V7/IV IV b I Imaj 7 Imaj 7
Cn¡ aj 7 C, Bb F /¡ A Db¡naj7/Ab Cmaj?/G
d

-61-

1 i

The analysis alx>ve is tbe same as the anaiysis in the previous example because it is
the same progression. Although tbe hass motion has changed.. the .root motion
remains the same. and the chords are essentially of the same type.

HYBRIDS : A chord overa single bass note that is .not an inversion (3rci 5th ar 7th
in the bass) is usaally a hybrid. Therefore, the bass note shouid be considerecl the
root. and the notes of the apper strocture used to determine the chord type.

In the following example, C is the root and the notes of the upper strm:tare create a
5th., m�Jor 7th and majcr 9th al)!:)ve the root.

G(C
b
q 1 . 5'

�1
¡ ,1

.1
1
:.
..
,,!_I .., .J.

Since �e voicing contains no 3rd above C, it could be interpreted as either Cmaji or

C-(maJ7), In most sittrations the more common Cmaj7 woald be the obvious choice.
bat the overall harmonic context might indicate the atlernative. Because of the majar_
7tlt. it cottld not be interpreted as a dominant ar minar 7th chord.
 Hc.nnony J

T!-1e n�xt e:r-2..r:npli¿ •r� rh':! sa..rne •.i!ord prc,g,.�sio.n. but with �l hybrici voic.ü1gs.
.
--�
C: lmaj 7 V7/IV IVmaj7 bIImaj 7 Imaj 7
G/C Gb/C E-7/F
-
c-,/Db
-
G/C

�-
h 1 1 1

-
'
� n ..:
y , •�

¡1
C/ V'-' e,,- v- V
1
� 1

. --
1'
1

1 1 1
,w
, I ,., ' , FF
1

Each chord t:ype ii'-1 this progression iS detennined by the relatfonsh.ip of the upper
structure notes to the rool \Ve have s� that G/C equals a formula of L 5. 7. 9. Gb/C
emrals a formula of 1. bs. b7. �- E-7/F equals a formula of l. 7. 9. #11.13. 2.nd C-/Db
equals a formula of 1. 7, 9, #11.

I
' G/C
'1 ;
Gb/C

5
1 ,

ti WWW-_.! 'f
In ea.ch case the chord formula derived from the voicing strongjy suggests the chord
type. a.tJ.d füerefore its function in the key.

In sorne situabons, hov.-iever� the hybr:id fonnula does not clearly define its chord type
or frmction.
II-7
or V7/V V?(sus4)
Bb: Imaj7 Imaj7
I ' F/Bb G-/C
' Eb/F F/Bb
-
'
r,
r,
1 , , ,, r
-0- : .,'1
---¡;;;;, ___ ;,1 -zj-- -&-
•
. �.. ' - .L
.

-
1

r y
,

<./
-�

Tne C-iC in tb.is example equa!s a chord formula of 1. 5. b7. 9. �ch could be eitber
C-7 cr c-¡(sus4). The hannonic rhythm 'Wl'.lcrld allow either interpretation. so anless
the me]odv incticated one or the other. a choice would be made on t.he basis of the
overdl mÜsical context and style. Either choice would be technica11y corred.
 Oi3pter 7 H:annany ti 51

Another area of ancertainty involves an exception to the in�ion .role (referred to

earlier). Amajor triad a whole step above the bass note (F/ED) has two alternative
inteqn-etations: 1) The inversion role would make ita dornioant 7th with the h7th in
the bass (F7); 2) the hybrid interpretati.on woald give it a Lydian sotmd (Eh majar
Lydian ar Eb7, Lydian 07). Again, the choice must be made on the basis ofmmrical
context.
The first examo1e beiow uses F/Eb asan invm-sion of F7. The second uses the same
compound c.hord s1mbol. and the same voicing. as a hybrid version of Eb major
Lydian.

�
F: I V7 /IV IV I V7

-.-.-,
F/Eb Bb/D F"/C C7
1 1

-- -1 ' 1

-
.....; ! ...
-.
J __,._�� -$-'...;-v- 1 �
--=v-:-/
1
1
1
.�-..
•-'

1
..
1
•·
J ._, '
� -z;r- -6'-

··r
.
T_maJ. r7<sus4)
Eh: Imaj7 ( Lyd. ) (Míxo.) Imaj. (Lyd.)

---�1 �
Ebmaj7 F/Eb Ob/Eb F/E.b

-
� �
t
- - -- - -
1 1 1 .-r ' �-¡

. - �� �
,n ,. '
✓n ' •¿-

. .,
� �
..

1
�7

. -Y- �..J..,-&-
1
-
�
-
- .
�
'
.,, - :
1
..
-,9- ---,9- -61-

,.

- . -
-- ', .··.... . ·'·:.· .... _ ... ·.....'f!/1·
 Cmt.pter . 7 H3rnlony -4 52

TENSIONS AND CHORD SCALES

Since the use of compound chord symbols does not change the rules of harmonic
aoalysis. neither does it change the principies of tension an.d c.'f:lord sea.le ase. As
always. the harmonic ai,alysis dictates the choice of chord scale.
However, specific voicings for polbi:ords and hybrids ofr.en indic...·üe speciñc alternate
chord scales. Our first example, or GI1/C. clearly indicates an altered domínant
C7
sea.le. even ií" the chord is V7/I {in F) or V7/IV (in C). fo summarv. tensions that are
induded in the voicingshould also be included in the.chord scale." ·

Gb

-�-- --
CT Gb/C
d
-�-· i,q'1
1 '
.
§
1
- J
, .... b5 :Zz @&
,
bo 7.:9 11!.e �& 1

J -0- "i
◄
l b9 3 b; b7

.� . �
_.,...
:•.,

The use cf 1,versions similar!v does not affect hazmonic analvsis. Inversions are
nearly al\\>-ays used to accommodate a ste�ise bass line. but the root motion stays
the same even if the /Jass motion ch.an�.
\vben the 3rd or 7th of a chord is in the bass,. however, altered tensions are difficult
to use beca.use thev soand more dissonan t. 1n mos t cases. then. invert.ed choras
soa:nd best w:ith chord tones and natural tensians.
;;.
'.
L .....
 Hannony .:i 53

HYBBW CONSTRUCTION
We have seen that it is possible to reduce a polychord to a hybrid: Gh can become
G�C far a more ambigtI.oos, indefinite sotmd. -_ C7

It is also possible to create a hybrid voicing from a simple chord symbol if the same
effect is desired.

A hybrid stroctme always creates a sense of harmonic instability, but its effect may be
either dissonant ar bland, depending on the inteJvals within the voicing. It can be
ased in isolated situatians, in combination with other compoand chord symbols, ar in
a series of hybrids to create a very ambiguous sounding progression.
A hybrid stroctare is made ap of notes from the chord scale of the moment and
retains the original root, but is indefinite soanding because it amits the 3rd of the
chord. These principies are osed in the flo lowing examples; the second is the same
as the first except that some of the original chord symbols are replaced with hybrids.

b9)
( Ionian) � (Lyd. b7) __(_I?;ior.) ( Mixo. b 13)
V7/III subV7/IV TI-? V7/I �
Imaj7 III-? � <b9) aj?

-
�bmaj7 A7
(//9)
D,7 Db,7 (//11) e- 7 t' 7 Bb maJ·7
�
n
1
, . - � - , �
1 1 1
11 i

l
•

- • 1
,.,
. ,.
�
- .r
'�
·•
1
n�
1 '-"

b
(
119 \
13)
F/Bb A? D-7 Eb/Db G-7/C Eb-/F Bbmaj7
1
-
l. l 1 1 1 '
- -
1
�,- n-
I� r• r�
rr
" -e-- FA
J lfi9- y""i:;r � "-z,-- o 1

·'
' ---
1
.-
1 ,r
-
1 • rr
- �

r
� n ' =
rr ' ¡

. . ·-···. --- ·-·•---.-

-
 ,,

Ciapter 7 Harmony 4 54

Procedure
The procedm-e for deriving bybrid voicings frnm simple chord symbols can be
described as follows:
l. Choose potential melody notes to be harm.onized with hybrids; these are
typically notes of long duration.
2. Analyze the progressian to determine the appropriate chord scales.
3. Determine which triads and sevenths chords can be used as upper stroctures
above the root. MeJody notes (except approach notes) mast be 1, 3, 5 or 7 of the
apper structare.
a. The apper stroctare is o:sually a majar or minar triad, ar a majar, minar ar
dominant 7th chord.
b. The upper stracture mast contain only notes from the chord scale of the
moment.
c. The upper structure should not contain any 3rd a.hove the original root
d. The opper stractare should not contain the original root itself.
e. There are no other avoid notes in tbe chord scale. �- __._.•-•--
...... ... '

f. Relative dissooance ar blandnes.s is contralled by the inteival.s between tbe

root and the notes of the upper stroctme.

The procedme given above is followed in tbe following exampie:

�hit,j
( Dor. ). {Mixo.) (Lydian)

- -
V7 / IV IVrnaj7
A-7 D7 Dmaj 7
Drnaj 7 Grnaj 7

• ¡- :1
1

; e ! J. .í Z2

tB- :t t
1
��

Available Triads: tE FÚ- ' A

1 1
G 1 - D t F (J-
E- 1 1 D

Available Sevenths: Gmaj7 1Cmaj 7 FU-7 1 FIi- 7

E-7 Dmaj7 1 Dmaj7
1

'·'

. . t.
L-
 Ch.:lpwr _ 7 H3:rrnany J. 55

lf any of the available upper structure triads or sevenths sound appealing, the
progression may be rev.Titten v.ith compound chord �-ymbols.

-
Dmaj7 E-7 Dmaj7 Gmaj7/A Cmaj7/D D/G A/G Dmaj7
' 1
-
r ... -r¡ r - - -
j ,_l. 1 l 1

- - -·
� '
1-

- - - - '
- -

.( �-
. � ,
�
J
1 1 o
1
-p'--
1
1
-&- 1

l
1
.,
.. ' . - -
,

--
1

- -
,
�J �
'
1 1 l
�
1 � -

Toe other voicings in the example above

could also have taken compocmd chord
syrnools: f#- /D and GIE. To.is. hO\ve�. would be unnecessari!y complex. since
they are exa.ctiy the same as Dmaj 7 and E-7 respective!y. Therefore. compotmd chord
sy:rnbols should be used only far specific harmonic techniques .

..

.. · -: •::. ••.• .. -.-·

 Chapter 8 Harmany 4 56

CONSTANT STRUCTURE CHORD PROG�IONS

A constant structure c-.hord progression is a series of chords, all of the same type.

Fmaj7 Bbmaj7 Ebmaj7 Abmaj7 Dbrnaj 7 Gbmaj7 Fmaj7

¡�r�-&
, E,� �
:!2 z,
1, '
►;
¡& f b J o il
In the example above, eacb chord is a majar 7th chord. It is therefore a constant
structure progression, and its analysis can be lllldert.aken from two different
perspectives.
First. it is clear1y a ftmctional cbord progression in the key of F:

�¡6)Ez;$ 2�0;:=�FE===;j�: =±! f'==:;=:b $,j=:::::1i�b p�==;:&�]==�=º====3!f .

F: Imaj7 IVmaj7 bVIImaj7 bIIImaj7 bVImaj7 bIImaj7 Imaj-:
Fmaj 7 :Sbmaj 7 Ebmaj, A;:;maj 7 Dbmaj 7 Gbmaj 7 Fmaj-¡
�:í:p,

However, since all the chords are of the same type. and the root motion is a consistent
interval of descending perfect 5th's, the list:ener may hear the oattern of motion more
clearly than hannanic ftmction in a key. Tbe description of patterns and sequences
in constant strocture progressions is called non-ftmctional analysis.
The following example can be analyzed both ftmctianally and non-fimctionally:
C: bIIrnaj7 Imaj7 bVIrnaj7 IVmaj7 bIImaj7 Ima 7
Dbmaj7 Cmaj7 Abmaj7 ?maj7 Dbmaj7 Cma 7
,.., 1 1 1

i..
' A
1 # ,--,.
'
)
,, ,
V -
,
, -- -� - y-
, -

,� , , -- ,
1'
, , V- �
bv
,
1 (..1
-6-
("'
1

[_ .. .: ,;. .. .·,,, ..
.. . - ...._.
 Chapter 8 Hannony 4 57

A non-functional analysis of the previOt.15 ex.ample 'WOO}d indude the follawing consideratíons:
l. I t is a constant st.ructure major seventh chord progression.
2. Toe root motion is in descending thirds.
3. TherootmotionspellsaD�j7 chard. wb.ich is the cadential chord in the
progression.
4. Toe melody emphasizes comman tones between chards, creating a smooth,
1.ink.ing quali ty.
5. Toe same melody note becomes richer sounding on each chord. It starts as the
5th of Crnaj.7, and becomes the 7th, 9th and #llth on successive chords.
Sorne constant structure progressions are purely non-functional; thls means that
analysis within a key is dillicult, if not impossible, and the real meaning or sound of
the music lies in root motion patterns and melodic and rhythmic sequences;
(Slow) r-Constant Structures -----------------
"-7 Eb-7 D-7 F-7

A
� -- y
'
� � "" -
1
vr
r-- 3
., ...., --
---,
'
- - --
1
,. - -- -r
J ,..__,,, v- i 1 1 \ 11-........., - ---J

r - -
1 1 J

Ab:subV7/I Imaj7
E-7 ,A 7 ( # 11)
;,----,.... Abmaj 7
...-r1 1 1

J .., .__ 3 1

-
In this e,cample, the first and second mea.sures are almost identical: a melodic and
,,;,, barmonic sequence. The root motion pattem is ap a minar third. tben down a
balf-step. The E-7 acts as a pivot chord from nan-ftmctional to ftmctional harmony.
It is the last of the constant strocture minar 7th chords, and it becomes the related
I1·7 of A7(#11).

As in the example above. most non-functional progressions involve a statement

(measure 1), a repetition (measure 2), and then a variatian of sorne kind (measare 3).
 Olapt:er & Hannony .4 58

Tunes with constant strnctare sections nearly always canta.in familiar fu:nctional
hannony as well. Constant structure passages usually end with root motion that is
. -:: stepwise or down a perfect 5th.
·•.!
; �·...:
C-0nstant strocture progressions are usually made up of major or rni:r'.'.or seventh
chords. Other chord types, althougb. possible, are oft.en considered. either too tmstab1e
;� or too bland far this x.ind of harmonic motion.

_ Root motion can be either one consistent interval (ali 3rds or all 5ths), ora pattem of
two or possibly three inteivals (up a 3rd. then down a 5th). In the following example,
the final interval is stepwise in order to return to Eb:

Ebmaj7 Gmaj7 Cmaj7 Emaj7

" -
: - - I V
�• -: -- - r - r , -- ,
�
....
� '
-

1
) 1 1 :......!_,J 1
\

1
1
1

r
1 l
1 1
�

P..maj 7 Dbma-i7 Ebmaj 7

1 1 1 1 r 1
J

.. -- -
1

-
I'\
� .. �- '
• V V
V :.:1 '
t i
-

)
1

F ,¿
� -�. ' r
- ' ,,
F r '
1 1 1

.--/

. :
._;j

-�•: . . ·.· .. ·.: .-. ...;,_• ....

. . �--·----,,··------·-�---··.:-••-,--·•·-:._