Beruflich Dokumente
Kultur Dokumente
by Barrie Nettles
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Harmony 3
by Barrie Nettles
Spring 2007 Edition
Joe Mulholland
Chair, Harmony Department
© Copyright 2007 Berklee College of Music
All rights reserved
CONTENTS
. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
. A Word to the Student. . . . . . . . . . . . . . . . . . . . . . . . . . . . viii
part 1. Diatonic Functioning Chord Scales. . . . . . . . . . . . . . . . . . 1
Secondary Dominant Chord Scales . . . . . . . . . . . . . . . . . . . . . 4
Optional Chord Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Other Major Key Chord Scales. . . . . . . . . . . . . . . . . . . . . . . . 10
Minor Key Chord Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Blues Chord Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
. Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
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Introduction
The fundamental design of this book will follow the same formula that
has served Berklee students well for some 30 years: a reference outline
of material that is examined and explained in much greater depth in
the classroom. The concepts introduced in this book are presented in
straightforward, relatively simple form; teacher and student work to-
gether to achieve a meaningful grasp of the material. Regular homework,
aural comprehension of the ideas, and application of the techniques to
written and recorded projects are indispensable. Nuanced understanding
and deep ownership of the ideas will take a lifetime to achieve.
Joe Mulholland
Chair, Harmony Department
A Word to the Student
The purpose of this book is to give you the tools to expand your creative
horizons. The chord scale analyses presented apply to any music, no mat-
ter how simple or complex the harmonic or melodic content. Rock, pop,
Latin, Jazz, indeed any tonal music, can be better understood using a
chord scale approach.
The chord scale descriptions in this book are not meant to be merely
memorized — that is only a first step — they need to be understood
and used.
Therefore…
n Sing Everything
n Play Everything
n Question Everything
n Use Everything
These are all good definitions. As you apply chord scale theory to the mu-
sic you make, see which definitions bring the creative issues into focus.
viii harmony 3
In tonal (diatonic, key-related) music, chord scales are implied even in
the simplest two-part passage comprised of melody and bass. This is true
even if not all seven notes of a scale are sounded. Context, harmonic stress,
melodic cadences and much more combine to create a context that allows
our ears to “fill in” the missing notes. The choice of chord scale reflects
the writer’s conscious or unconscious choice about coloring a voicing or
shaping a melody: light/dark, thick/thin, predictable/surprising, subtle/
intense, etc. It’s your music: take control of what you already know, and
then discover new possibilities.
&b w #w œ w w w w
w w
1 T b 9 T # 9 3 S4 5 T b13 b7 1
ix
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part 1 Diatonic Functioning Chord Scales
Chord Scale Chord scales are used to identify the available melodic and harmonic
pitches for a chord in a functional and stylistic context. They are an ex-
tremely useful tool when harmonizing a melody line, but they have many
other applications as well.
w #w w
& w w #œ w œ w
œ
1 3 5 T7 T9 T#11 T13
Chord Scale Terminology The above extended maj7 chord may be identified either as Cmaj7( # 11)
Harmonic avoid notes, also called avoid notes, are avoided harmonically
but available melodically as approach notes or passing tones. If an avoid
note is used in a chord voicing, or as a sustained melody note, it causes
œ
an unacceptable clash with the chord tones. In this book, avoid notes are
w
indicated by filled note heads ( ); chord tones and available tensions are
written as whole notes ( ). Because there are no avoid notes in a Lydian
scale, all of the notes of the scale above are available for use in a chord
voicing or melody.
& w w w w w
w w œ
The modal name for the chord scale above is C Ionian. The chord symbol
for this scale would be Cmaj7. It is Imaj7 in the key of C. Both the chord
symbol and the chord scale refer to the same structure, but the chord
scale is more complete and shows all the diatonic pitches.
Modal Progressions It is important to distinguish modal terminology when used solely for
labels to identify chord scales, from modal harmony. Modal progressions
are extremely common in contemporary music, and were popularized
by jazz innovators of the 1950’s and 1960’s. Music that has a mode other
than Ionian as its tonal center and harmonic source will be covered in
much more depth in Harmony 4.
Purely diatonic music uses diatonic chord scales. That is, if the melody
and chords, or melody and bass, are all diatonic, then the chord scale for
each harmonic event — each chord change — will be a familiar mode of
the major or minor key that governs the whole piece. The available ten-
sions will be a whole-step above a chord tone: diatonic pitches a half-step
above a chord tone are avoid notes. (The examples below are in a major
key; minor key music naturally yields different results. Minor key is ex-
plored later in Part One.)
# w
& # w w w œ w w w
1 T9 3 S4 5 T13 7 1
harmony 3
Dorian A diatonic melody accompanied by a II– chord, or by the 2nd degree
of the key in the bass, produces a Dorian chord scale. The 6th degree is
avoided, even though it is a whole-step above the 5th, because it creates
a tritone with the 3rd of the chord. This creates a texture that suggests a
dominant function rather than subdominant. The II– chord can have 9
and/or 11 in the melody or added as tensions to a voicing.
## w œ w w
& w w w w
1 T9 b 3 T11 5 S6 b 7 1
the key in the bass, produces a Phrygian chord scale; the b 2nd and b 6th
Phrygian A diatonic melody accompanied by a III– chord, or by the 3rd degree of
degrees are avoided. A III– chord can have 11 in the melody or added as a
tension to a voicing.
# œ w w
& # w œ w w w
1 S b2 b3 T11 5 S b 6 b7 1
voicing.
## w w w w
& w w w w
1 T9 3 T# 11 5 T13 7 1
## œ w w w w
& w w w
1 T9 3 S4 5 T13 b7 1
the key in the bass, produces an Aeolian chord scale; the b 6th degree is
Aeolian A diatonic melody accompanied by a VI– chord, or by the 6th degree of
avoided. A VI– chord can have 9 and/or 11 in the melody or added as ten-
sions to a voicing.
## w w œ w w
& w w w
1 T9 b 3 T11 5 S b 6 b7 1
avoided. A VII–7 b 5 chord can have 11 and/or b13 in the melody or added
of the key in the bass, produces a Locrian chord scale; the 2nd degree is
as tensions to a voicing.
# w w w w w
œ w
& # w
1 S b2 b3 T11 b5 T b13 b7 1
˙ œ. Œ œ œ.
& œ œ J J
? # # # ww # www
w
N ww
w
# www wwww
etc.
w w
In a major key, secondary dominants create a strong expectation of
resolution, with root motion down a perfect fifth (or up a perfect fourth)
to a diatonic chord. Therefore, the chord scale for a secondary dominant
will contain the chord tones of the dominant chord and tensions that are
diatonic to the key. The result, in all cases, will be some form of Mixolyd-
ian scale. Minor key is somewhat more complex, but these basic elements
remain the same. Minor key secondary dominants will be discussed in
Part 2.
The avoid note rule for secondary dominants is simple: avoid scale
harmony 3
(The following examples appear in G major.)
V7/IV, V7/V The chord scale for V7/IV and V7/V is Mixolydian; the 4th degree (the
root of the expected chord of resolution) is avoided:
w
V7/IV
# œ w w nw
w
G7
& w w
1 T9 3 S4 5 T13 b7 1
w
V7/V
# œ w w w
#w
A7
& w w
1 T9 3 S4 5 T 13 b 7 1
The chord scale for V7/II is Mixolydian b13; the 4th degree is avoided, and
there is also a conditional avoid note, b13. Although it is a half-step above
V7/II Conditional Avoid Notes
The chord scale for V7/III and V7/VI is Mixolydian b9, b13; (The diatonic
pitch # 9 is usually included to remove the awkward augmented 2nd be-
V7/III and V7/VI
tween b 9 and 3). The 4th degree is avoided; 5 and b13 are conditional avoid
notes:
F#7
V7/III
# œ ( # w w) w w
& w w #w
1 T b 9 3 S4 5 T b13 b 7 1
V7/VI
#
B7
& w) w w
w w w #w œ ( w
1 T b9 T # 9 3 S4 5 T b13 b7 1
Any secondary dominant chord scale may be altered for arranging, stylis-
all have 3 and b7), but each has a unique character or color that affects the
tic or melodic reasons. These scales all function as dominant scales (since
# w w w
Mixolydian ( b9) & w bw w œ w
T b9 b7
#
1 3 S4 5 T13 1
w bw w w
Mixolydian ( b9, b13) & w bw w œ
T b9 T b13 b7
#
1 3 S4 5 1
Mixolydian ( b 9, # 9, b13) w bw w w
& w bw nw #w œ
T b9 T # 9 T b13 b7
# w
1 3 S4 5 1
& nw #w bw bw w
Altered
w bw
1 T b9 T # 9 3 b5 T b13 b7 1
and b13. It does not contain a 4th degree, and has no avoid notes. Its ab-
breviation in a chord symbol is “alt,” for example, D7alt.
harmony 3
V7/IV and V7/V Similar to V7, V7/IV andV7/V may use the following options instead of
# w w w
the diatonically-derived Mixolydian. V7/V is shown here:
bw #w œ w
Mixolydian ( b 9) & w
T b9 b7
# nw w w
1 3 S4 5 T13 1
w #w œ w
Mixolydian ( b13) & w
T b13 b7
w w
1 T9 3 S4 5 1
# bw w #w œ w nw
Mixolydian ( b 9, # 9, b13) & w
T b9 T # 9 T b13 b7
w w
1 3 S4 5 1
# w #w bw nw
Altered & w bw
1 T b9 T # 9 3 b5 T b13 b7 1
# w w w w
Mixolydian ( b9, b13) & w nw #w œ
T b9 T b13 b7
#
1 3 S4 5 1
w w w w
Mixolydian ( b 9, # 9, b13) & w nw w #w œ
T b9 T # 9 T b13 b7
#
1 3 S4 5 1
bw w w w
Altered & w nw w #w
1 T b9 T # 9 3 b5 T b13 b7 1
F#7
V7/III
# w w w w
Altered & w w w #w
1 T b9 T # 9 3 b5 T b13 b7 1
w w
V7/VI
# w #w nw w
w w
B7
Altered &
1 T b9 T # 9 3 b5 T b13 b7 1
Sus4 Before a secondary dominant If a secondary dominant is preceded by a sus4, the tensions for the sus4
Secondary Dominant chord will be the same as for the secondary dominant. This reinforces the
connection between the suspension and the dominant sound. Note the
differences in tensions on these two chords:
V7sus4⁄
#
IV
# nw w w w
œ w
G7sus4
& w w
1 T9 S3 4 5 T13 b7 1
V7sus4⁄
III
# F # 7sus4
#
w #w w w w
& w w #œ
1 T b9 S3 4 5 Tb13 b7 1
Related II–7 Chord Scale A related II–7 chord of a secondary dominant or an extended dominant
typically has a Dorian sound that reflects its subdominant function. If
it is a dual function chord, the player/writer can choose to emphasize its
diatonic function (Phrygian for III–7 or Aeolian for VI–7) or its related
II–7 (Dorian) function. This emphasis can be obvious, as in a sustained
chord voicing, or subtle, as in a passing tone in a melody. Again, this is a
choice that will affect the musical context and create a slightly different
experience for the listener.
Aug 7th Chord Whole Tone Scale Another option on dominant chords is the whole tone scale. It is com-
monly used for +7th chords. It is used infrequently, generally as a special
effect, and it has a unique character that can be useful in a particular
context. The whole tone scale is symmetrical: it has 6 notes in whole
steps, and therefore does not contain any avoid notes.
V7sus4/III
# D +7
# w w
& w w #w #w
w
1 T9 3 T# 11 # 5 b7 1
Symmetric Dominant Scale A final option is the symmetric dominant scale. It is built using a repeat-
sounding scale due to the presence of 1, 3, 5, and b7. Because of its mix-
ing sequence of half-steps and whole-steps. This results in a dominant-
ture of natural and altered tensions, it is not diatonic to any key. As with
any “optional” scale, it is used when some tonal ambiguity is desired, or
when its unique color is appropriate.
harmony 3
V7/II
# E7 Symmetric Dominant Scale
w #w w w
& w nw ‹w #w #w
1 T b9 T # 9 3 T # 11 5 T13 b7 1
Extended Dominants The basic chord scale for extended dominant chords is Mixolydian, but
the writer or player may instead choose to use any of the options de-
scribed above. The use of Mixolydian reinforces the expectation that
the progression will ultimately resolve in a major key, since the tensions
(9 and 13) are from major.
n Avoid notes are non-chord tones a half-step above a chord tone except:
n The quality of a dominant chord’s 13th degree ( b13 or natural 13) will
are available as approach notes or passing tones.
Exceptions to IV Lydian The diatonic IV chord usually uses a Lydian chord scale. However, there
are some instances when an Ionian scale is more appropriate:
V7⁄
I IV IV V7
IVmaj7 IV–7 I
www bw w
Fmaj7 F–7 C G7
œ
& w w w bœ w w w b w b ww ww w œ w w ww
3. The style of music may have an effect on the choice of chord scales.
For example, the scale for the IV chord in Country and Western music
is almost always Ionian. (The standard pedal tuning of a pedal steel
guitar allows only for natural 4ths. In many folk, rock and pop styles, a
common embellishment of triadic progressions on guitar is to alter-
nate any triad with it’s sus4.)
Modal Interchange Modal interchange chords derive their chord scales from their modal
harmony 3
#### a www œ œ
III–7
œ
E major:
& œ a w œ œ
œ
b III maj7
## N ww œ œ
E Dorian:
œ
& œ œ N ww œ œ
the example above, the source of b IIImaj7 is the tonic E Dorian scale.
It is important to distinguish between modal source and chord scale. In
The chord scale for the b IIImaj7 chord is G Lydian. If the player or writer
decides to use E Aeolian as the modal source, the chord scale for G maj7
will be G Ionian.
œ
If modal source is E Dorian…
b III maj7 œ œ œ œ œ
## N ww œ œ œ œ
& œ œ N ww œ œ
1 T9 3 T #11 5 T13 T7 1
œ
If modal source is E Aeolian…
b III maj7 œ œ œ œ œ
# ww œ œ œ œ
& œ œ ww œ œ
1 T9 b 3 S4 5 T13 T7 1
The examples that follow are by far the most common; as always, other
choices are possible and will create a different result. All of these scales
will be explored in their minor key context in the chapter on minor keys.
Non-diatonically Rooted Triads The non-diatonically rooted major chords in a major key typically use
and Major Sevenths Lydian. This is common in jazz-influenced settings, and is also widely
used in triadic folk, pop or rock situations, because the raised 4th in the
chord scale represents a diatonic pitch. This allows for diatonic melodic
phrases to be colored by the non-diatonic chord.
Other scales can be used, such as Ionian for bVII or b III. Context and the
writer/player’s intent will determine the choice of notes in a given situa-
tion.
# # # # b IImaj7 w n w n w w n w # # # # b IIImaj7 w n w w w n w
& nw nw w & nw w w
1 T9 3 T #11 5 T13 7 1 1 T9 3 T #11 5 T13 7 1
# # # # b VImaj7 # # # # b VIImaj7 w w nw
& w w nw & w w
n w w w w# n w nw w w
1 T9 3 T 11 5 T13 7 1 1 T9 3 T #11 5 T13 7 1
Other modal interchange chords borrowed from parallel minor keys use
the following chord scales.
w w w
& w w bw w w w bw w & w w bw w w
I–7 (Dorian) V–7 (Dorian)
I–7, V–7
b
1 T9 3 T11 5 T13 7 b 1 b
1 T9 3 T11 5 T13 7 b 1
w bœ w w bw w
& w w bw bw w & w w bw bw w
IV–6 (Dorian) IV–7 (Dorian)
IV–6, IV–7
1 T9 b3 T11 b
5 T13 S 7 1 b b
1 T9 3 T11 5 T13 7 1
Note that when Dorian chord scales are used on modal interchange
chords, the 6th degree is labeled T13, not S6. The difference is due to
harmonic function.
nant function of the chord. The 6th degree of the II–7 chord is the leading
tone of the key, and by definition subdominant chords do not contain the
leading tone. However, when Dorian is used on I–7, IV–7, or V–7, T13 is
an important color note, and is available for use in voicings, especially
when supported by T11.
harmony 3
II–7 b 5
major; it is almost always part of a II–7 b 5 to V7 progression. As such, it
This chord is seldom found as a stand-alone modal interchange chord in
typically uses a Locrian chord scale, since it is the II–7 b 5 chord from the
parallel Aeolian.
II–7 b 5 (Locrian)
bw bw w w
& w bœ w w
1 S b2 b3 T11 b5 T b13 b7 1
An alternate scale for II–7 b 5 when used in a major key is Locrian n 9, the
n 9 representing the major 3rd of the key. In cases where the intent is to
make II–7 b 5 sound like a chord preparing a cadence to tonic major, it is
the appropriate scale.
Diatonic chords in minor keys still use diatonic chord scales. However,
due to the different varieties of tonic minor scales (natural minor, har-
monic minor, melodic minor, etc.), more chord scale options are gener-
ated for diatonic minor key chords. The criteria for avoid notes remain
the same as in major keys with very few exceptions.
# w #w w
E composite minor
& w w w w #w
w w
1 2 b3 T11 5 b 6 n6 b7 n7 1
min6 maj7 min7 maj7
Diatonic chords from minor tonalities have chord scales based on the dif-
ferent tonic scales of those minor keys. A review of the tonic minor scales
and the resulting wide variety of diatonic chords indicates how much
freedom is possible when choosing a chord scale for any minor key chord.
The choice of exactly which scale degree to use when deriving a chord
scale depends on context and the intent of the writer/player.
1. The chord scales used for the tonic I– chord may be any form of minor
scale, but by far the most common are Aeolian, Dorian and melodic
2. Most of the non-tonic chord scales in minor keys (II–7 b 5, II–7, IV–7,
minor. Any pitch a half-step above a chord tone is an avoid note.
etc.) are derived from natural minor or Dorian minor. Any non-chord
tone a half-step above a chord tone is an avoid note.
3. All dominant chords similar in function to those found in major key
harmony (primary dominant, secondary dominants, substitute domi-
nants, extended dominants) have chord scales which are appropriate
to their function:
n Chords with diatonic function use diatonic tensions;
n Dominant chords which have expected resolutions down a perfect
fifth (i.e, secondary dominants) use some form of Mixolydian
chord scale.
I–6 The I–6 chord uses either a Dorian chord scale, with the 7th degree
avoided, or a melodic minor chord scale:
bbb
C–6
& w nw œ w
Dorian
w w w w
1 T9 b 3 T11 5 6 S b7 1
bbb
C–6
& w nw nw w
Melodic minor
w w w w
1 T9 b 3 T11 5 6 T7 1
harmony 3
I–7 The I–7 chord uses either a Dorian chord scale or a natural minor
(Aeolian) chord scale. Dorian tonic minor does allow for the use of ten-
sion 13; it is a whole-step above a chord tone and is an acceptable color on
a tonic chord. (Phrygian is also an option on I–7. It is used when a darker
color is desired.)
bbb
C–7
& w nw w w
Dorian
w w w w
1 T9 b3 T11 5 T13 b7 1
b
C–7
&bb w w œ w w
Aeolian
w w w
1 T9 b3 T11 5 S b 6 b7 1
I– maj7 The I–maj7 chord uses either a melodic minor ascending chord scale or,
less often, a harmonic minor chord scale:
bb
C–maj7
& b w w w nw nw w
Melodic minor
w w
1 T9 b 3 T11 5 T13 7 1
bb
C–maj7
& b w w w œ nw w
Harmonic minor
w w
1 T9 b3 T11 5 S b 6 (n)7 1
Unlike in major keys where S4 is a half-step above the major 3rd, T11 is
an available tension on the tonic minor chord scales. In numerous con-
temporary rock tunes it is an important melody note on I– chords.
When used as a tension in voicing the I–, I–7 or I–6, T11 is often sup-
ported by T9.
The chord scales for the other minor key chords can be thought of as
displacements of one of the tonic scales.
Chords built on the 2nd scale degree typically use either a Phrygian or
chord pattern.
II–7
bbb w
D–7
& w nw œ w
II–7 Phrygian
w œ w
1 S b2 b3 T11 5 S b 6 b7 1
II–7 b 5
D– 7 b 5
bb w
II–7 b 5 & b w w w w w w
Locrian
œ
1 S b2 b3 T11 b5 T b13 b7 1
b IIImaj7 Chords built on the 3rd scale degree typically use an Ionian (major) chord
scale. Other options exist.
b III maj7
E b maj7
b w w w
Major &bb w w w œ w
1 T9 3 S4 5 T13 7 1
IV–7
w
bbb w w
F– 7
& w w w w
IV–7 Dorian
w
1 T9 b3 T11 5 T13 b7 1
IV7
w
bbb w w w
F7
IV7 b &
Lydian 7 w w nw nw
1 T9 3 T# 11 5 T13 b7 1
IV7
w
bbb w w w
F7
Mixolydian & w w nw œ
1 T9 3 S4 5 T13 b7 1
harmony 3
V7(b9) Chords built on the 5th scale degree typically use Mixolydian b9, # 9, b13
for V7, or Phrygian. Other options exist.
V7(b 9)
G7(b 9)
b w w w w
b
Mixolydian (b9, # 9, b13) & b w w w nw œ
1 T b9 T# 9 3 S4 5 T b13 b7 1
V–7
b
G– 7
w œ w w
V–7 Phrygian &bb w œ w w
1 S b2 b3 T11 5 S b 6 b7 1
VI–7(b 5) There are two possible scale degrees in minor for VI. The VI–7 b 5 chord
(which has a tonic function) usually uses a Locrian chord scale. Other
options exist, e.g., Locrian natural 9 creates a melodic minor texture.
VI–7(b 5)
A– 7( b 5) nw
b
w w w w w
Locrian & b b nw œ
1 S b2 b3 T11 b5 T b13 b7 1
b VImaj7 The b VI chord (which has subdominant function) generally uses Lydian.
bVImaj7
A b 7maj7 w
b w w w w
Lydian &bb w w w
1 T9 3 T# 11 5 T13 7 1
There are also two possible scale degrees in minor for VII. The bVII chord
can use either a Mixolydian ( bVII7), or Ionian chord scale ( bVIImaj7),
depending on the desired musical effect and the other chords in the
harmonic phrase. The VII°7 chord is much less common, but does occur,
especially in Latin-influenced music. Diminished chords that function in
major keys will be discussed in detail later in this book.
bVII7
Bb 7 w
bb b w w œ w w w
b VII7 Mixolydian & w
1 T9 3 S4 5 T13 b7 1
b VIImaj7
B b maj7
b œ w w nw w
b VIImaj7 Ionian
&bb w w w
1 T9 3 S4 5 T13 7 1
VII°7
w w w nw
bbb n w w œ
B °7
& œ
VIIº7
1 S b2 b3 S b 4 b5 T b13 °7 1
This is the 7th mode of harmonic minor. It is identical to V7( b9, b13)/3,
and shares its dominant function.
The chord scales common to blues harmonies are derived from chord tones
in the accompaniment and melodic pitches from the blues melodic scale in
from the b 3 above the tonic, but could be another scale. (For the purposes
use. This is often the tonic minor pentatonic scale, or a major pentatonic
blur the distinction between 3 and b 3, 5 and b 5, 7 and b7. Although they
of this book, we will ignore the inflections and pitch-bending that can
harmony 3
The tonic I7 chord in blues can have many different chord scales:
# F7# 9 bw w
b bw œ w
I7( # 9) & w
1 T # 9 S4 5 b7 1
# F7# 9 w
w w
&b w bw
œ
1 S9 T # 9 5 T13 1
# F7# 9 w
w bw
&b w w œ
#w
1 T # 9 3 S4 5 b7 1
# F7# 9 w
w w bw
& b w #w w œ
1 T # 9 3 S4 5 T13 b7 1
# F7# 9 w
bw nw w bw
& b w #w w œ
1 T # 9 3 S4 5 n5 T13 b7 1
# F7(9)
w w bw w
I7(9) &b w w w œ
1 T9 3 S4 5 T13 b7 1
# F7(9)
bw nw w bw w
&b w w w œ
1 T9 3 S4 b5 5 T13 b7 1
The subdominant IV7 chord in blues most often uses a Mixolydian chord
scale:
# B b 7(9)
&b w w bœ w w bw w
w
IV7
1 T9 3 S4 5 T13 b7 1
the key, and is not reflected in chord voicings or the chord scale for IV7.
# C7(9)
&b w w w
V7
w w œ w w
1 T9 3 S4 5 T13 b7 1
# C7( # 9)
& b w bw w w w w
bw nw œ
1 T b 9 T # 9 3 S4 5 T13 b 7 1
# C7( b13)
&b w œ w bw w w
w w
1 T9 3 S4 5 T b13 b 7 1
# C7(alt)
& b w bw bw bw w w
bw nw
1 T b 9 T # 9 3 b5 T b13 b 7 1
Avoid notes Natural 11 is not normally an available tension for dominant chords.
However, in blues, it is very common to find it as a stressed melodic pitch
on the primary I7, IV7, and V7, since in all these cases, natural 11 is a
sive gestures (bent notes, slides from b 5 to 5, etc.) are of prime impor-
blues pitch. Powerful repeated melodic riffs and individualized expres-
# F7 B b 7
j œ œ b œj œ j
& b 44 œ œ œ œ œJ œ .
F7
bœ œ. bœ œ œ bœ ˙
n11 n11 n11
However, V7/II usually takes a Mixolydian b9, # 9, b13 chord scale. A natu-
or minor key harmonies, and therefore use their normal chord scales.
harmony 3
D7( # 9)
w w
&b w bw w #w œ w w
T b 9 T # 9 T b13 b7
1 3 S4 5 1
# A–7( b 5) w
w w bw w w
&b w œ
1 S b2 b3 T11 b5 T b13 b 7 1
and modal interchange chords such as b II, b III, IV–, bVI and bVII. These
based on free movement between diatonic chords (including the V triad)
The possibilities are endless, and it is beyond the scope of this book to
show every nuance and variation in usage. However, it is possible to train
your ears to recognize these different types of resolution and to use your
analytical skills to understand how they are employed in music.
harmony 3
B b
4
& b 4 .. ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ..
F D–7 G–7 C7sus4 C7 A–7 D–7 C7sus4 C7
V7 to III–7
Tonic Alternate Subdominant Dominant Alternate Alternate Subdominant Dominant
Tonic Tonic Tonic
B b
4
& b 4 .. ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ..
F D–7 G–7 C7sus4 C7 D–7 A–7 C7sus4 C7
V7 to VI–7
Tonic Alternate Subdominant Dominant Alternate Alternate Subdominant Dominant
Tonic Tonic Tonic
b IIImaj7 E b maj7(13)
D–7 G7( b 9,13)
bVImaj7 A b maj7
b IImaj7 D b maj7( # 11)
& 44 ˙˙˙ b ˙˙˙ ww
˙˙
? 44 ˙˙ ww
˙
?# 4 ‰œ Ó œ œ ˙. ‰œ Ó œ œ ˙. ‰œ Ó œ œ
4 ˙. J J J
C # (min7 b 5) C–7 B b 6 A b maj7
# ˙˙ ... œ ˙˙ .. œ ˙˙ .. œ ˙˙ .. œ ˙˙ .. œ ˙˙ .. œ ww
G/B A7 G
& ˙ ‰ b b œœ ˙. ‰ n œœ ˙. ‰ b œœ ˙. ‰ # œœ ˙. ‰ N b œœ ˙. ‰ œœ ww
J J J J J J
j
? # #˙. ‰ nœ ˙. ‰ œj ˙ . ‰ b œj ˙ . ‰ œj ˙ . ‰ b œj ˙ . ‰ œj
w
b IIImaj7
sevenths.
# b # E b maj7
C(9) E7( 9) E 7 D7( 9) D–7 G7
j j
& 44 wœ œ œNœ. j œ œ N ˙˙ œ. œ œ. œ ww
œ b œ˙ œ œ ˙ w
#˙ N˙ œ ˙ bw
? 44 ˙ #˙ Nœ
V7 to b IIImaj7
˙ ˙ b˙ ˙ ˙ ˙ bw
harmony 3
V7 to b IImaj7 V7 may also resolve deceptively to the other maj7 modal interchange
chords: the functional explanation for the next two deceptive resolutions
is V7 (primary dominant) moving to a modal interchange subdominant
minor chord; thus, dominant to subdominant.
& 4 ‰ œj œ œ œ œ œ œ www œ œœ .. œœ ˙˙
‰ jœ œ œ œ œ œ
œ
? # 44 j j
j j œ. œ œ. œ w
œ. œ œ. œ w
# C7sus4 A b maj7
# j
D7sus4 D7
& ˙˙˙ .. ‰ œj œ . œ œ œ j
œœœ .. n œœœ ˙˙˙
j
œœœ .. n œœœ ˙˙˙
. œœ .. œœ œœ . . www
?#
j
œ.
œ ˙
J b œ . b Jœ ˙ b œ . b Jœ ˙ b b ww
œ. œ ˙
V7 to bVImaj7
E7( # 9) E b 7 D7( # 9) b
C(9) D–7
j G7 j A maj7
& 44 wœ œ œ œ. j œ œ ˙˙ œ. œ œ. œ ww
œ b œ˙ œ œ ˙
#˙ N˙ œ ˙ w
? 44 ˙ #˙ Nœ
˙ b˙ ˙ ˙ ˙ bw
˙
? ### 4
4 œ. œ œ œ œ. œ œ œ œ
j œ œ. j
œ œ œ œ
j
œ œ œ
J J œ. œ.
### E7
j Gmaj7
& j œ œ w w w
œ œ œ œœ .. œœ ˙˙ œœ .. œœ ˙˙ ww
J J
? ### œ . j j j n ww
. .
œ œ œ n œœ . œœ ˙˙ n œœ . œœ ˙˙
nw
D b maj7
& 44 œ˙˙
D–7 G7 C(9)
œ ˙˙ w w
˙ b www wwww
? 4 ˙˙ ˙ w w
4 b
˙ b ww ww
A b maj7 D b maj7
& 44 œ˙˙
D–7 G7 C(9)
œ ˙˙ ẇ ˙˙˙ w
˙ b ˙˙ wwww
? 44 ˙˙ ˙ ˙ ˙ w
˙ b˙ b ˙˙ ww
E b 6 A b maj7 D b maj7
& 44 œ˙˙ œ ˙˙
D–7 G7 C(9)
ẇ w
˙ ˙ b ˙˙˙ wwww
? 44 ˙˙ ˙ b ˙˙ bœ
˙ w
˙ bœ b ˙˙ ww
harmony 3
Summary of V7’s Common Deceptive Resolutions
Tritone The characteristic sound of the dominant chord is produced by the pres-
ence of the tritone (3 whole steps) which exists between the third and
seventh of the dominant chord:
ww 3 w w
G7
œ
& 7 (
œ )
?
Augmented 4th
Tritone Resolution The characteristic of dominant resolution is the movement of the two
pitches of the tritone to the 1st and 3rd degrees of the target chord. The
root of the dominant chord will move down a perfect fifth:
& ww w
G7 C
w
?
w
w
The two pitches of the tritone are the most unstable pitches of the key.
The leading tone (7th of the key) and the 4th degree of the key have a ten-
dency to resolve as shown above and below. If the fifth of the dominant
chord is present, it will also move to the root of the target chord.
G7 C
&w ww
w
?w w
w w
Movement of the 5th The tendencies of the tritone notes are unaffected if inverted (as above).
Just as the notes of the tritone resolve by chromatic movement, the 5th of
the dominant chord may also resolve chromatically.
G7 C
&w ww
w
?˙ b˙ w
w w
The altered fifth (D b ) may assume the root function on the dominant
chord, since the tritone notes remain a tritone:
G7 D b7 C
&w ww
w
?˙ b˙ w
˙
harmony 3
Two Related Dominants The resulting dominant chords share the same tritone (the functions for
the third and seventh are reversed) and may therefore have similar func-
tion.
D b7
w
( b w )
G7
b ww 3
& w7 w7
w3 ( w )
?
w œ œ bw
Tritone
Substitute Dominant The dominant chord and its substitute dominant chord share the same
tritone and their roots are a tritone apart. (Substitute dominants are also
known as tritone substitutions.)
SubV7 The substitute dominant for V7 is subV7. Just as the expected resolution
of V7 to I requires an arrow showing the resolution, the resolution of the
subV7 has its own analysis symbol, a dotted arrow.
D b 7
V7 I sub V7 I
& 44 ˙ w w
G7 C C
˙ ˙ ˙
? 4 ww w bw
w
nw
4w w w
w bw w
A solid arrow represents dominant resolution down a perfect fifth; a dotted
arrow represents substitute dominant resolution (subV7) down a half-step.
D b 7 Gb Gb
V7 I sub V7 I
b
& b b b b b 44 ˙
G7
˙ w ˙ ˙ w
? b b b b 44 ww ww n ww b ww
bb w nw bw
w
D b 7
V7 I sub V7 I
& 44 ˙ ˙ w ˙ w
G7 C C
˙
? 44 ww w bw w
w w w
w bw
w w
part 2 Dominant Chord Functions
Substitute Dominant Chords
SubV7/II, SubV7/IV, SubV7/V The primary dominant and secondary dominants are chords which have
an expected resolution down a perfect fifth. This expectation is created
by their diatonic context. The non-diatonic tones in secondary domi-
nants, and the tritones in both primary and secondary dominants, create
harmonic tension that is resolved with a resolution back to a diatonic
chord. Secondary dominants all have diatonic roots a perfect 5th above a
diatonic chord.
& 44 .. ˙ bœ bœ ˙ œ bœ ˙ bœ bœ ˙ bœ bœ ..
˙
? 4 .. ˙˙ b b ˙˙ ˙˙ b ˙˙ ˙˙ b ˙˙ ˙˙ ˙˙ ..
4 b˙ ˙ b˙ ˙
b˙ ˙ b˙
IV7 and bVII7 One characteristic of substitute dominant chords in major key contexts is
that their roots are not diatonic. (The primary and secondary dominant
chords by definition have diatonic roots.) Although IV7 could be heard as
subV/III, it has a diatonic root and it rarely sounds as though its function
will be as a substitute dominant (though it may progress down a half-step
to the tonic sounding III–7). IV7 more often appears as a modal inter-
change chord; functioning as a subdominant minor cadence chord:
& 44 .. ˙ œ œ ˙ Œ b œ œ œ ..
Cmaj7 E–7 A–7 F7
œ œ œ ˙. œœ œœ
IV7 can also be used to add blues influence to an otherwise diatonic
major tune.
harmony 3
Similarly, bVII7’s function as a modal interchange cadence chord
(subdominant minor) is more common than the possibility of a subV7/
VI function: although it may resolve down a half-step to the tonic sound-
ing VI–7 chord it is much more commonly heard progressing back to I.
&4 ˙ œ œ œ œ ..
˙
˙ b ˙˙ ˙˙ b ˙˙
? 44 ˙˙ ..
b˙ ˙ b˙
B b7 in this example:
substitute chord and the target chord, it will be a subV7, as are the F7 and
E7 B b7 A–7
& 44 .. ˙
Cmaj7
œ œ ˙ œ œ œ ˙. Œ Ó œœœœ
D b maj7
Œ œj œ b œj œ œ œ ..
D–7 B7 F7 E–7 D–7
&œ œ œ ˙ Ó œ œ œ œ ˙.
As has been the case with many previous topics, the VII–7 b 5 chord is not
involved in the listing. V7/IV (or I7) is never subV7/VII.
Minor Key SubV7s Substitute dominant chords are also common in minor key chord pro-
gressions, especially those from the Tin Pan Alley/Great American Song-
book genre, or minor key songs with blues influences (e.g., “Angel Eyes”).
some differences in the subV’s that are created. For example, subV7/ b III,
The differences between major and minor key scale structure results in
II–(b 5)
subV7 I– subV7⁄
II
C– D b7 C– C– E b7 D–7(b 5)
bb bb
? bb b˙ w ? bb ˙ w
b ˙ b ˙
These chords, the way they function in progressions, and their chord
scales will be examined in more detail in the section on chord scales for
substitute dominants.
harmony 3
Related II–7 Chords for
Substitute Dominants
Any dominant chord may be preceded by its related II–7. The related
II–7s of substitute dominants are all non-diatonic. Because the related
II–7 chords of the substitute dominants cannot have dual function, they
will be analyzed simply in terms of their relationships with the substitute
dominant chords: the relationship. As before, the bracket shows
root motion down a perfect fifth (or up a perfect fourth).
If the related II–7 chords for primary or secondary dominants are com-
bined with their substitute dominants, four possibilities for subdomi-
nant/dominant resolution exist:
& ˙˙ ˙˙ w & ˙˙ b ˙˙ w
1. 2.
w w
? ˙ ˙ w ? ˙ b˙ w
Examples 1 and 2 (above) are by far the most widely used, because their
root motion is consistent: all fifths or all half-steps.
A b –7 D b7 Cmaj7 A b –7 G7 Cmaj7
& b b ˙˙ ˙˙ ww & b b ˙˙ ˙˙ ww
3. 4.
? ?
b˙ b˙ w b˙ ˙ w
To summarize:
1. The related II–7s of the primary or secondary dominants either
progress normally, by fifths:
V7⁄ V7⁄
IV II
Cmaj7 G–7 C7 Fmaj7 E–7 A7
œ œ
& 4 .. œ . J œ œ b œ . Jœ ˙
4
œ. J œ œ w
V7⁄
V V7
D–7 A–7 D7 G7sus4 D–7( b 5) G7( b 9)
œ œ. œ ˙
&œ œ œ œ J œ œ ˙. bœ bœ ˙. ..
2. And the related II–7s of the substitute dominants either progress nor-
mally, by fifths:
subV7⁄ subV7⁄
IV II
Cmaj7 D b –7 G b7 Fmaj7 B b –7 E b7
œ œ
& 44 .. œ . J œ œ b œ . b Jœ n ˙ œ. J œ œ bw
subV7⁄ subV7⁄
V II
D–7 E b –7 A b7 G7sus4 A b –7 D b7
œ bœ. bœ ˙
&œ œ œ œ J œ œ ˙. bœ bœ ˙. ..
3. OR, any of the above II–7 chords may progress down a half-step to the
root of the dominant or the substitute dominant chord. Since the root
motion from the II–7 to the dominant or substitute dominant chord
will be down a half-step, the analysis symbol used is a dotted bracket:
subV7⁄ V7⁄
IV II
Cmaj7 G–7 b
G 7 Fmaj7 b b
B –7 A7( 9)
œ œ
& 44 .. œ . J œ œ b œ . Jœ ˙ œ. J œ œ bw
subV7⁄
V V7
D–7 A–7 A b7 G7sus4 A b –7 G7(b 9)
œ œ. œ ˙ œ œ ˙.
&œ œ œ œ J bœ bœ ˙. ..
harmony 3
A solid arrow or bracket indicates root motion down a perfect fifth:
? w w ˙ ˙ ..
˙ ˙ w ˙ ˙ ˙ ˙ w
? w ˙ b ˙ ..
˙ b˙ w ˙ b˙ w ˙ b˙ w
–7 –7
–7(b5) –7(b5)
or or
dom7 dom7
Extended Dominants Extended dominants are dominant chords found on strong stress points,
or within a pattern or dominant resolution following the cycle of fifths
with an extended dominant as the starting point for the pattern:
n ˙˙ b b ˙˙ ww ˙˙ ˙
#˙
? b b 44 ˙ n˙ b˙ ˙ w ˙ ˙
˙ ˙ ˙ w ˙ ˙
˙
(V7⁄ III )
D7( b 13) G7( b 9) C7 F7( # 9) B b maj7 A7( # 9)
V7 Imaj7
b
& b ˙˙ ˙ b˙ ˙ n˙ ..
n˙ b˙ w ˙ #˙
˙ w ˙
? bb # ˙ n˙ n˙ b˙ ww ˙˙ ˙ ..
˙ ˙ ˙ ˙
˙
Extended Substitute Dominants The same characteristics apply when substitute dominant chords are
involved. The root motion during extended dominant motion follows the
cycle of fifths; the root motion during extended substitute dominant mo-
tion is chromatic. The analysis for extended dominants is a solid arrow;
the analysis for extended substitute dominants is a dotted arrow :
(3) V7 Imaj7
V7⁄
III ( )
D b7 C b7 B b maj7 A7( b 9)
b 4
D7 C7
& b 4 # n ˙˙ n b ˙˙ n ˙˙ b b ˙˙ ww ˙
˙
˙
#˙
? b b 44 ˙ b˙ b˙ ∫˙ w ˙ ˙
˙ b˙ ˙ b˙ w ˙ ˙
Chromatic
( V7⁄ III )
A7( # 9)
V7 Imaj7
A b7 G b7 B b maj7
b
G7 F7
& b ˙˙ ˙ b˙ ˙ n˙ ..
n˙ b˙ w ˙ #˙
˙ w ˙
? b b˙ ˙ b˙ ˙ ww ˙˙ ˙ ..
b b˙ ˙ b˙ ˙ ˙
Chromatic
Interpolated Extended In measures 1–2 and 5–6 of the above example, every other chord rep-
Substitute Dominants resents an extended substitute dominant chord, while the remaining
chords are extended dominants resolving by half-step. If the root of the
first dominant chord in the pattern is not diatonic, it will sound like an
extended substitute dominant. The extended substitute dominant may be
interpolated prior to the resolution of an extended dominant:
Imaj7 (V7⁄ II
) V7
B b maj7 D b7 G b7 C b7
b
& b 44 ww
G7 C7 F7
bw ˙ b˙ ˙ b˙
nw bw w
? b b 44 w ẇ b˙ n w˙ bw b˙
w b˙ ˙
Imaj7
V7⁄
IV IVmaj7 IV–7 bVII7
B b maj7 B b7 E b maj7 E b –7 A b7
bb ..
E7
& w ˙w n˙ bw ẇ
w w b ˙
? bb w bw w bw ..
w ˙ n˙ bw ˙ b˙
harmony 3
Related II–7 of Extended It is more common for the substitute dominant to follow the extended
Substitute Dominants dominant (as above) than for the substitute to appear first. Related II–7
chords may precede their respective dominant chords:
B b maj7 A b –7 D b7 D b –7 G b7 G b –7 C b7
b 4
D–7 G7 G–7 C7 F7
& b 4 w˙ œ œ ˙
œ
˙ ˙ b˙
bœ ˙ b˙
n˙. b˙ œ ˙ ∫œ œ
? b b 44 w ˙œ bœ b œœ œ n ˙œ . b œ b ˙ b œ b œœ
w œ bœ œ bœ ˙ bœ
Added Bb7
B b maj7 B b7 B –7 E7 E b maj7 E b –7 A b7
b ˙ œ ..
&b œ œ ˙w œ œ ˙
w œ b
ẇ
˙
w
? b w b˙ nœ #œ nw bw ..
b w ˙ nœ b˙
nœ bw ˙
Tensions for Sub V’s Since substitute dominant chords are not diatonic structures, their
extended structures do not require a diatonic orientation. The tensions
available on any substitute dominant are the pitches a major ninth above
any chord tone (whether diatonic to the key or not).
subV7⁄
A b7 B b7
subV7 II
# n ww # w
& b
b b wwwww
b & bn wwww T#11
T13 T13
T#11
T9 b ww T9
subV7⁄ subV7⁄
D b7 E b7
IV V
# b www # n www
b
b n bb wwww b b b wwww
T#11
T13
T#11
T13
& T9 & T9
All substitute dominant chords have available tensions 9, #11, and 13.
These pitches represent a major triad a whole-step above the root of the
dominant chord, a fact that can suggest voicing possibilities when writing
chord scale, the result is a scale that can be described as Lydian b7 (or
for piano or larger ensembles. When these voices are combined into a
Lydian dominant):
subV7
# A b7
& w bw w bw bw
bw bw w
1 T9 3 T # 11 5 T13 b 7 1
IV7 and bVII7 can also use Mixolydian. These are modal interchange
chords and the choice of chord scale is based on style (e.g., Mixolydian is
a much more common choice in rock and folk progressions) and con-
textual considerations, such as a desire to reinforce the original key or a
scale with S4 on very weak beats. Example 2 uses Lydian b7; note how the
parallel tonality. For example, example 1 below uses a Mixolydian chord
harmony 3
### 4 œ . j
1. A A7sus4 A7 D G7 A
& 4 œœ œ œ œ. œ œ nœ œ œ œ nœ. w
E–7 E b7
### j
‰ œj œ œ œ œ œ œ œ œ œ œ œ w
2. A Dmaj7 G7 A
& j œj œ œ ˙ .
œ. œ J J
A b7 (9, # 11,13)
subV7 V7alt
Substitute Dominant
w www
D7alt
& b b b wwwww
Over V7’s Root
www
bw w
? bw w
Lydian b7, the altered scale is not used on substitute dominants. As was
Although the altered dominant chord scale can be seen as a mode of
Tensions for Related II–7s of The available tensions for the related II–7 chords of substitute dominants
Substitute Dominants are drawn from the key in which the chord is the diatonic II–7:
B b –7
subV7⁄
# # b n wwœ
C–7
# # n b wwœ
subV7 II
# # n b bn wwwœ
IV V
# # b bn wwww
& b b b www from D b & b n ww from E b
Related II–7 Chord Scales Dorian, the scale for a II–7 chord, is used for any II–7 chord which is
present in a progression with a or relationship. This reflects
its subdominant function: it is in the progression to prepare the domi-
nant chord.
To summarize:
1. Mixolydian, Mixolydian with alterations, whole tone, and altered are
chord scales which create an expectation to resolve down a perfect
n If the pattern follows the cycle of fifths (whether the roots are diatonic
or not), most will hear extended dominants. This can be reinforced by
the use of a straight Mixolydian scale.
harmony 3
Dominant Functions in Minor Keys
Since minor keys have chords built on the natural 6th and 7th scale degrees
as well as the raised 6th and 7th, the root of some of the dominant chords
functioning in the key may be both a perfect fifth and a half-step above
different diatonic pitches; that is, a chord can simultaneously appear to
be a secondary dominant and a substitute dominant.
V7/II, V7/IV, V7/V The common secondary dominants in minor keys were covered briefly in
an earlier chapter. To review, they are normally constructed using chord
tones appropriate to the chord, plus tensions from the key signature. For
example:
V7/IV
»•º
Medium R ’n B ballad
q = V7⁄
q
Medium
80R'n'B ballad IV
G7( b13)
b
& b 44 .. œ œ œ ≈ œ œ ≈ œj .
G–7 G–7
‰œ ≈
œœ œœ ˙˙˙ œœœ œ n œœœ œœœ œ.
? b b 44 ..
˙ œ œ #œ œ œ #œ ˙ œœœœœ
bb ‰ . œr œ œ œ .
C–7 C–7
≈
& œœœ œ œœœ œœœ œœœ ˙˙˙ œ œœ œœ œ .
? bb ≈ œ œ nœ ˙ Ó ..
˙ œ
The chord scale for the G7 (V7/IV), is G Mixolydian b13; B natural from
the chord, E b from the key.
The same approach is used for V7/II and V7/V, the other common sec-
ondary dominants in minor: appropriate chord tones, plus tensions from
the key signature. This will provide the most basic, diatonic sound for
the musical passage. As in major, any alteration of the scale is possible,
depending on the intentions of the player or writer.
SubV7, SubV7/IV, SubV7/V These three substitute dominant chords are fairly common in minor key
tunes, especially those in the jazz and contemporary Gospel music tradi-
example is in B minor:
##
subV7⁄ subV7⁄
www www www ww
subV7 I–7 IV IV–7 V V7
SubV7
subV7
#
& # nw bw
C7
w w w w
w
T# 11 b7
? # # n wwww
b
1 T9 3 5 T13
Other Minor Key As mentioned earlier, there are three dominant chords common in minor
Dominant Chords key progressions that can be a perfect fifth above a diatonic pitch and at
the same time a half-step above another diatonic pitch, for example:
& # n ˙˙˙ ˙˙
˙
n ˙˙˙ # ˙˙
˙
? ## ˙ ˙ ˙
˙
harmony 3
The choice of chord scale, either for use in a voicing or a melodic passage
will create different expectations. Compare these two examples:
V7⁄ bVI
# 4 jj jj j
B– D7
& # 4 œœ .. œ œ œ œœj ˙˙
1.
Œ œ . œ œ œ œœ ˙˙ Œ
œ œ œœ
F # 7sus4 F # 7
## Gmaj7
j
B–
& œœ .. j
œ œ œ œ œœœ ... # œœ œœ œ w
subV7⁄
II
# j
2. B– E–7 B–7 B–7 D7
& # 44 œœ .. œ œj œ œj ˙ Œ œ œ œœ .. œœ œœ œœ ˙˙
j
# œœ .. œj
œ
C # –7b 5 F # 7sus4 F # 7sus4 F # 7 B–
## Œ ‰ œ. ˙
& ww ˙˙ œ œ œ œ
œ ˙˙ # ˙˙ ww
bVII7, V7/ b III bVII7 is a diatonic chord in minor key; it commonly progresses up a
step to tonic I– . It also appears to be the secondary dominant of b III, a
perfect fifth below. However, secondary dominants by definition contain
& b b 44 ˙˙˙ œ
œœ œ œœœ
˙˙
˙˙
œ
n œœ œ œœœ ˙˙
˙
? b b 44 ˙˙ ˙ ˙˙ ˙ ˙
b ˙ ˙ ˙
Mixolydian Lydian 7b
(much less
common)
E–7b 5 E b7 D–7b 5 D b7
b j
& b b œ œ Œ Ó Œ ‰ œ n œ œ œ œ œ œ œ œj œ œ w
j
C–6 C–6
function.
IV7, V7/ bVII IV7 is usually associated with the I–7 chord. Together they appear to
have a relationship, but it is misleading to analyze them using the
bracket, since they are not a subdominant/dominant pair.
IV7 is also a perfect fifth above the bVII chord, and sometimes resolves
there. A Mixolydian scale is again the appropriate choice:
V7⁄ b bVII7
I–7 IV7 I–7 VII
B b7
b
& b b 44 www œœ œœ
C–7 F7 C–7 F7
˙˙˙ ˙˙
nœ œ œ œ A˙ œ œ œ nœ b˙
? b b 44 ˙˙ ˙ ˙
b ˙ ˙
Mixolydian Mixolydian
harmony 3
part 3 Diminished Chord Patterns
Diminished seventh chords in major keys are most often found as passing
chords between neighboring diatonic chords, or as approach chords to
diatonic chords.
The diminished 7th chord patterns described in this chapter are typical
of progressions in major keys; they are almost never found in minor.
(VII° 7, built on the 7th degree of the harmonic minor scale, functions as
a dominant substitute in minor.) They are most characteristic of music
that is fairly complex and often highly chromatic, such as jazz, some
contemporary Gospel and classic Broadway tunes; however, they are still
used effectively by contemporary pop and rock artists. In contemporary
Brazilian songs, diminished chords are used in a wide variety of creative
ways. These uses are outside the scope of this book, but are well worth
exploring.
& ˙˙ b ˙˙ wœ ˙ .
? ˙˙ # ˙˙ ww
This chord may or may not
be a part of the pattern.
˙˙ # b ˙˙ ˙.
& wœ
? ˙˙ # ˙˙ ww
&
? ˙˙ # ˙˙ ww
&
˙˙ # ˙˙ ww
?
& ˙˙ b ˙˙ ww
? ˙˙ b ˙˙ ww
harmony 3
bVI°7 bVI°7 approaching V7 or passing to V7 from VI–7:
VI–7 bVI°7 V7
A–7 A b °7 G7
˙˙ b ˙˙ ww
&
˙˙ b ˙˙ w
? w
& ˙˙ b ˙˙ ww
? ˙˙ b ˙˙ ww
V7 V°7 V7
G7 G °7 G7
˙˙ b ˙˙ w
& w
˙˙ b ˙˙ n ww
?
The diminished chords’ root motions can be used to categorize three dif-
ferent types of diminished chords:
Ascending and descending diminished chords fill the need for smooth
voice leading between adjacent diatonic chords a whole-step apart. The
auxiliary diminished (I°7 and V°7) have common tone roots with their
target chord, and can be thought of as chromatic elaborations of the basic
chord.
V7( b 9) ⁄
I II II–7
Cmaj7 A7( b 9)
œ œ
⁄# C
D–7
˙˙ ˙
& 44 ˙˙˙ b˙
# ˙˙˙ #
˙œ̇
œ
I°7
?4 ˙ ˙
4 ( # ˙)
V7( b 9) ⁄
III III–7
B7( b 9)
œ
⁄#
D
E–7
˙˙ œ œ ˙ œ w
& 44 ˙˙˙ b˙
# ˙˙˙
˙˙œ ˙
œ # # ˙˙˙ n www
# II°7
? 44 ˙ #˙ ˙ ( # ˙) w
harmony 3
# IV°7 is derived from an inverted V7( b9)/V:
IVmaj7 V7( b 9) ⁄
V V7
D7( b 9)
4
Fmaj7
˙
⁄# G7
ww
˙˙
F
&4 ˙˙ b ˙˙˙ ww
# IV°7
? 44 ˙ #˙ w
˙˙ ˙˙
& 44 ˙˙
˙˙ ww
˙˙ b ˙˙ ˙˙ ˙˙ www
#V°7
?4 ˙ #˙ ˙ #˙ w
4
b III°7 is expected to resolve to II–7 (but does not contain the tritone of
the V7/II chord):
III–7 b III°7 II–7
E b °7
œ
E–7 D–7
œ ˙
˙˙
& 44 ˙˙˙ ˙
b b ˙˙˙
˙˙˙
˙
? 44 ˙ b˙ ˙
Tritone of A7
is not present.
Note that b III°7 and # II°7 are enharmonically the same chords but the
expected resolutions are different; the context in which they appear de-
termines the function.
bVI°7 I⁄
V
A b °7
˙˙ œ œ ˙
C
⁄
4 ˙˙ ˙ œœ œœœ b ˙œ˙˙ œ wG
ww
&4 ˙ b b ˙˙˙ œœ œ ˙ ww
? 44 ˙ b˙ œ œ b˙ w
Tritone of D7
is not present.
I°7 is the auxiliary to the tonic I chord (and does not contain the tritone
of the V7 chord). V°7 is the auxiliary to the dominant chord (and does
not contain the tritone of the V7/V chord)
(Key of C)
& ˙˙ ˙˙ b œ̇ # œ n ˙˙
? ˙˙ ˙
b b ˙˙ # œ˙ œ
˙
Delays the arrival of Imaj7;
chromatic approach to 3 and 5
harmony 3
(Key of G)
Imaj7 # IV°7 V°7 V7
C # °7
#
Gmaj7 D°7 D7
& œœœœœœœœ b˙ n˙
(Key of C)
II–7 subV7 Imaj7 I°7 Imaj7
D–7 D b 7 Cmaj7 C°7 Cmaj7
& ˙˙ ˙˙ œœ b œœ œ n ˙˙
? ˙˙ b b ˙˙ œœ # œœ ˙˙
Elaboration
(Key of G)
V7 V°7 V7
# j
D7 D°7 D7
& œ œ œ œ bœ Nœ. œ œ œ
Alternate Resolutions
C # °7
G7⁄
D
& œ œ ww
b # ˙˙˙˙ www Notice that
melodic pitch “B”
is not available
? #˙ w
on the normal
resolution: II–7.
# II°7 # II°7 has an expected resolution to the tonic III–7 chord. It has an alter-
nate resolution to the tonic I chord with its 3rd in the bass:
D # °7
C6 ⁄
E
ww
& b # ˙œ˙˙˙ œ www Notice that
melodic pitch “C”
is not available
? #˙ w
on the normal
resolution: III–7.
F # °7
C6 ⁄
E
ww
& b # ˙œ˙˙˙ œ www Notice that
melodic pitch “C”
is not available
?
on the normal
#˙ w
resolution: V7.
harmony 3
b III°7 b III°7 has an expected resolution to the II–7 chord. It has an alternate
resolution to the II–7’s related V7/5th in the bass:
E b °7
G7⁄
D
& œ œ ww
b b ˙˙˙ ww
˙ w
Notice that melodic pitch
“B” is not available on
?
the normal resolution:
b˙ w
II–7.
not a chord tone, since there are four chord tones already present:
# I°7
If the target for any diminished seventh chord is diatonic, the tensions
are also diatonic, just as they are for diatonic chords and secondary dom-
inants. Using diatonic tensions reaffirms the home key. Diatonic pitches
a major ninth above a chord tone are available tensions . The examples
below illustrate tensions for the most commonly occurring diminished
chords.
I°7, # II°7 The available tensions for I°7, # II°7, b III°7, and # IV°7 in the key of
b III°7, # IV°7 C major are:
# II°7
D# °7
I°7
ww
C°7
& w
wœœ & œœ b13
maj7 maj7 (enharmonic)
? # # wwww
9
? b b wwww
b III°7 # IV°7
E b °7 F # °7
& wwœ & wœwœ b13
œ b13 (enharmonic)
maj7
11
bw
? b b wwww ? # www
Note that the chord tones and available tensions for the above four di-
minished chords are the same (or enharmonically the same). Inverting
a diminshed chord does not change its interval structure. Therefore, the
same notes are available on each chord, since all four chords are func-
tioning in the same key:
& w
wœœ œœ œœ œ
w w bw
? b b wwww b b www # # www # www
Enharmonic equivalents (i.e., C°7 = E °7, etc.) b
# V°7, bVI°7 The available tensions for # V°7 and bVI°7 in the key of C major are:
# V°7 bVI°7
G # °7 A b °7
wwœ wwœ
& œ b13
& œ b13 (enharmonic)
maj7 (enharmonic) maj7
www www
? w
# ? b w
harmony 3
Note that all the chord tones for the above two diminished chords are the
same or enharmonically the same. Therefore, the available tensions are
the same, since the chords are identical in structure:
# V°7 bVI°7
G # °7 A b °7
ww ww
& œœ œœ
ww w
? # ww b www
Enharmonic equivalents
# I°7, V°7 The available tensions for # I°7 and V°7 in the key of C major are:
# I°7
C # °7
V°7
wwœ wwœ
G°7
& œ T b13
maj7 & œ 11
9
? #b wwww ? b b wwww
Note that all the chord tones for the above two diminished chords are the
same or enharmonically the same. Once again, the available tensions are
the same since the chords are essentially the same and function in the
same key:
# I°7
C # °7
V°7
wwœœ
G°7
& wwœ
œ
? b www b b wwww
#w
Enharmonic equivalents
& bw nœ w w w
I°7
w w bw nœ
T9 Tmaj7
& #w œ w w bw nw #w
# I°7
œ w
T b13 Tmaj7
w w w bw
b III°7 & bw nœ bw nœ w
T b13 Tmaj7
w w w nw #w
# II°7 & #w œ #w œ
T b13 Tmaj7
w w w bw nw #w
# IV°7 & #w œ w
T11 T b13 Tmaj7
bw nœ w œ w
V°7 & w w bw w
T9 T11
œ w w w nw #w
#V°7 & #w œ w
T b13 Tmaj7
w w w bw
w œ w
bVI°7 & bw nœ
T b13 Tmaj7
harmony 3
Chord Scale Names Unlike previous chord scales, the above diminished scales appear to have
no names. However, a comparison with secondary dominant chords re-
veals identical chord scales for diminished and altered secondary domi-
nant chords.
A7( b 9)
œ w w w w bw nw #w
& w b w w ## ww œ w œ w w
C # °7
The chord scale for # I°7 can be identified as the same scale as V7( b9)/II
starting on the 3rd of the dominant chord. This is the leading-tone of the
root of the target chord. (The conditional avoid note occurring for the
dominant chord does not occur for the diminished chord since the third
of the diminished chord must be used.)
Since V°7 contains the same chord tones as # I°7, it uses the same scale as
V7( b9)/II starting on the root of the V°7:
V°7
V°7
w bw nœ w œ w
& w w bw
9 11
There is an alternate version of the scales for # I°7 and V°7. Between the
B b and C # (or B b and D b) there are actually two diatonic choices: B and
C (in the key of C). Using C (as illustrated above) instead of B results in a
chord scale that contains one less avoid note:
# II°7
w w w nw #w
& #w œ #w œ
T b13 Tmaj7
B7( b 9)
w w # w œ #w w w w w nw #w
& w #w œ #w œ w
w
D # °7
The chord scale for # II°7 can be identified as the same scale V7(b9)/III
starting on the 3rd of the dominant chord. (This is the tone leading to the
root of the target chord.) There are two avoid notes.
I°7, b III°7, # IV°7 Since b III°7, # IV°7, and I°7 contain the same chord tones as # II°7, their
chord scales can be identified as the same scale as V7(b9)/III. Each starts
on the respective diminished chord’s root and contains two avoid notes:
w w
I°7
& bw nœ bw nœ w
w w
9 maj7
b III°7
w w nw bw
& bw nœ bw nœ w
b13 maj7
# IV°7
w w bw nœ #w
& #w œ w w
11 b13
tween the D # and F # (E b and G b ) there are actually two diatonic choices:
There is also an alternate version of the scale for each of these chords. Be-
E and F (in the key of C). Replacing E with F results in a chord scale that
is still diatonic, but contains one less avoid note. Either choice is accept-
able.
# V°7 # V°7 is expected to resolve to VI–7. The chord scale for # V°7 can be iden-
tified as the same scale as V7( b9)/VI starting on the 3rd of the dominant
chord. (This is the tone leading to the root of the target chord.) As in the
previous diminished scales, there are two avoid notes.
# V°7 nw #w
œ w w w
& #w œ w
b13 maj7
harmony 3
V7( b9)/VI has the same function:
E7( b 9)
& w w w #w œ w w w w w nw #w
#w œ w œ w w
G # °7
bVI°7 Since bVI°7 is enharmonically identical to # V°7, its chord scale is also the
same scale as V7( b9)/VI, starting on the root of the diminished chord
and containing two avoid notes:
b VI°7 w bw
w œ w w w
& bw nœ
b13 maj7
Symmetric Diminished
T11, T b13 and Tmaj7. If an extended structure is created with all these
Using tensions that are a whole-step above each chord tone results in T9,
# I°7
C # °7
n ww
# # www b13
maj7
b
& # www
11
9
If the above chord’s tensions are displaced an octave lower between each
chord tone, a symmetric diminished scale is created. It is not a mode of
any major or minor scale. This scale is composed of alternating whole
steps and half-steps:
C # °7
& # #n wwww
? #b wwww # w # w w w w nw #w
w #w
Whole- and half-steps: 1 ½ 1 ½ 1 ½ 1 ½
& #w #w w w bw w bw
#w w
1 T9 b3 T11 b5 T b13 °7 Tmaj7 1
n The chord scales for all the ascending diminished 7th chords are de-
rived from the secondary dominant chord scales of the target chords
for the ascending diminished 7ths:
n The descending and auxiliary diminished chords use the same chord
scales as their enharmonic equivalents.
b III°7 = # II°7
bVI°7 = # V°7
I°7 = # II°7
V°7 = # I°7
There are optional scales for all diminished chords except # V°7 and
bVI°7. The optional scales use other diatonic tensions.
n
harmony 3
part 4 Modulation Considerations
b 44 œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ œ . œj œ œ œ œ
D–
&
V7⁄
IV
V7⁄
Imaj7 ( III )
D7(b 9)
j ˙ #˙
A–7 G–7 C7 Fmaj7 F+7
& b ˙. œ ˙. œ œ. œ œ œ
Imaj7
B b maj7 D b7 C–7 F E–7(b 5) E b –6
G–7⁄
œ œœ˙ œ œ œ bœ œ œ œ œ œ œ ˙ œ. œ œ œ bœ œ
F7 G–
& b J
subV7⁄
Imaj7 ( bVII7 ) II–7 V7
II
Imaj7
b b
˙.
B maj7 A 7 G–7 C7 Fmaj7
&b œ ˙. œ w w
B b maj7 D b7
œ œ ˙ œ œ œ bœ œ œ œ
F+7 C–7 F7
& b 44 # ˙ œ
F E–7(b 5) E b –6 B b maj7
œ œ œ bœ œ ˙.
G–7⁄
&b œ œœ ˙ œ.
G–
Parenthetical Analysis Modulation indicators (a small arrow and interval number) are not nec-
essary, but are sometimes added to the analysis to clearly show the rela-
tionship between the two keys. Dominant chords that resolve deceptively
into a new key are placed in parentheses. Dual Roman numeral analysis
shows their dual function. The old function (secondary dominant) is
parenthesized; the new function (primary dominant of the new key) is
placed below it.
Accidental Usage When modulations occur within tunes, it is common practice to use
accidentals as opposed to changing key signatures. The fewer accidentals
necessary in a modulation, the more closely the keys are related and the
Retrospective Hearing Most listeners are conditioned to expect the primary key’s return after
a modulation. The experienced musician has a musical memory which
allows for hearing in retrospect. For example, everyone can remember
the previous chord while hearing the chord being played; some musicians
can remember back to the original key and have the expectation for its
return.
bœ œ œ œ œ œ œ œ œ ≈ œ bœ œ œ œ œ w
C7 F7 C7 F7
& 44 œ œ œ ≈ œ œ œ b˙.
D b7 G b7 D b7 G b7
bœ œ bœ œ œ œ bœ bœ œ ≈ œ bœ œ œ œ bœ w
& b œ b œ œ ≈ œ bœ bœ b˙.
harmony 3
rection, although downward modulation (for example to the key of bVI)
Most modulations in songs are perceived as occurring in an upward di-
allows for strong upward movement on the return to the original key.
There is no formula for using modulation effectively in a composition or
arrangement. What follows is an examination of some of the mechanisms
by which songs modulate.
Implied Modulations Implied modulations trick the listener into believing that a new key is
Imaj7
A b7 A–7 A b °7
4 œ œ œ œ. œ w œ œ œ œ j
Fmaj7 G–7 C7 G–7 C7
& b 4 .. Œ œ ˙ J . œ
Imaj7
j
A–7 D7 G7 C7(sus4) F°7 Fmaj7
&b œ ˙. œ œ œ œ. œ w ˙. œ
b IImaj7 bVII7 ( V7⁄ II )
G b maj7 B b –7 E b7
IV–7 III–7 V7
œ œ bœ bœ œ œ. j ˙
A–7 D7(alt) G7 C7
& b œ. J bœ j œ ..
œ. œ bœ. J w
Brief passages like measure 9–10 above don’t constitute a true modula-
Latin, q=120
Fmaj7 A b7 A–7 A b °7
4 œ œ œ œ . œJ w œ œœœ j
G–7 C7 G–7 C7
&b 4 Œ œ ˙ . œ
j
A–7 D7 G7 C7(sus4) F°7 Fmaj7
&b œ ˙. œ œ œ œ. œ w ˙. œ
G b maj7 B b –7 E b7 A b –7 D b7 G b °7 G b maj7
œ œ j j
& b œ. J bœ bœ œ œ. bœ ˙ j
bœ. bœ œ. œ w
C b maj7 B b –7 A b –7 D b7sus4 D b7 C7sus4 C7
bœ
& b bœ. J bœ œ bœ œ b˙. bœ œ bœ bœ bœ ˙ œ œ œ œ œ ..
Establishing a Modulation Establishment of a modulation is not solely dependent on the use of the
tonic chord of the new key after a modulation has occurred. The modu-
lation can clearly occur despite the lack of a I chord, especially in music
where the modulation is sequential or melody-driven.
# 4 bœ nœ œ œ. œ œ ˙.
& 4 Œ œœœ œ œ w
3
D7 Gmaj7 G7 C–7 F7 C–7 F7
J
G major B b major
b b b # #
# bBœ b–7
œ œ œ. bœ w j
œ #œ œ #œ. #œ #œ
E 7 G 7 F7 C –7 F 7 Bmaj7
& J
Ab major Bmajor
Open Key Signatures When tunes or arrangements have multiple secondary keys, the writer
may choose to use an open key signature, where there is no stated key
signature and all the accidentals are written into the music.
Melody Forced Modulation Shifting melodies into a new tonality will force a modulation. This is a
very common way of creating variety while repeating melodic fragments.
harmony 3
Direct Modulation
Direct From I Modulations may occur directly from any diatonic chord. The most
common form of direct modulation is from the I chord, since the I chord
establishes a point of tonal finality.
Imaj7 V7 Imaj7
Fmaj7 G–7 A–7 D7 G–7 C7 Fmaj7
4
&b 4 œ œ œ ˙ œ œœœ œœ œ œœ
˙ w
& b bœ bœ œ ˙ œ bœ bœ œ œ œ bœ bœ œ b˙ ˙. bœ œ
When the harmony modulates, the melody may or may not modulate. As
seen above, however, when the melody modulates the harmonies must
modulate. This modulation is strengthened by transposing both the
melody and the harmony to the new key.
bœ œ œ ˙ œ bœ bœ œ œ œ bw ˙.
& bb Œ ..
chord, although the new Imaj7 (D b maj7) in bar 5 relates to the old key as
Direct from Other The passage above is usually heard as a direct modulation from the II–7
b IIImaj7.
Diatonic Chords
Melodically Forced Modulation The melody may force a modulation. In the following example, the
melody is transposed to the new key a tritone higher; the chords are
transposed by the same interval. (In this case, the dominant chord is not
functional in the new key, the sequential melody drives the modulation):
II–7 V7
b
b 4
C–7 G7( 9) C–7
˙ ˙ ˙ ˙
F7
####
&b 4
1.
II–7 V7
F # –7 C # 7(b 9) F # –7
#### ˙ ˙ ˙ ˙
B7
&
Direct From V7 Direct modulations from the V7 chord, as in the examples above and
below, are frequently used as a device to extend phrases and/or heighten
the forward motion of the music. Direct modulations utilizing the II–V’s
of first the original key, then of the new key are relatively common:
& b 44 ˙ œ w bbbb w
2.
œ. J
˙˙ œœ .. œœj œœ .. œœj œœ œ œœ bb œœ œœ .. œœj ˙˙
? 4
b 4 ˙ œœ . œ œœ œ. bœ œœ œœ œ œ œ bbbb œ œ
œ œ œ œ œ œ ˙
situation, where the melody does not move but the chords move with the
modulation (ex.2).
harmony 3
Pivot Chord Modulation
Pivot Chords Chords which function in both the original/primary key and in the new/
secondary key are pivot chords. Their dual functions are indicated by two
analysis symbols; one showing initial function, and one indicating the
function in the new key:
Samba, h = 90
(II–7 I–7)
Imaj7 II–7 Imaj7 III–7 II–7
Fmaj7 G–7 Fmaj7 G–7 F–7
œ
& b C .. œ œ œ œ œ w œ œœœ œœ œ œœ˙
(subV7⁄ V)
E b maj7
Imaj7 II–7 VI–7
F–7 C–7 B7
& b œ œ œ œ bœ œ w œ bœ œ œ œ bœ œ œ ˙
( b IImaj7)
C # –7 C # –7
Imaj7 VI–7 Imaj7 VI–7
j
Emaj7 Emaj7
& b #œ #œ œ œ #œ #œ w #œ #œ œ ‰ nœ œ w
F # –7 G # –7
II–7 III–7 IVmaj7 Imaj7
j
Amaj7 Emaj7
& b # œ # œ œ ‰ œ n œJ œ # œ n œ ‰ # œ Jœ ˙ # œ . # œ w ..
Pivot Function Possibilities The pivot chord in the 4th measure is analyzed first in the original key
II–7. (Other dual possibilities for G–7 are: in E b major it is III–7; VI–7 in
then in the new key as a dual function. In the case of G–7, in F major it is
sounds like subV7/V in E b major, but actually resolves to the new tonic
The B7 in measure 8 also represents a pivot function. It initially
of E major.
After the repeat, the Fmaj7 in measure 1 will initially sound like b IImaj7
in E; then as the tune progresses, the original key is re-established.
Chord Scales for Pivot Chords The most basic choice of chord scale for a pivot chord is based on the
chord’s function in the original key. The chord scales for the analysis of
the previous example are:
& b C ..
Fmaj7 G–7 Fmaj7 G–7 F–7
Ionian Dorian Ionian Dorian Dorian
(subV7⁄ V)
E b maj7
Imaj7 II–7 VI–7
&b
F–7 C–7 B7
Ionian Dorian Aeolian Lydian b 7
( b IImaj7)
C # –7 C # –7
Imaj7 VI–7 Imaj7 VI–7
&b
Emaj7 Emaj7
Ionian Aeolian Ionian Aeolian
F # –7 G # –7
II–7 III–7 IVmaj7 Imaj7
..
Amaj7 Emaj7
&b Dorian Phrygian Lydian Ionian
Alternate Chord Scales Alternate chord scale possibilities are generated from the dual analysis
symbols. The parentheses around pivot chords indicate that their per-
ceived function changes as the music progresses. Initially, a chord has a
clear function in one key, but it’s alternate function is exploited to create
the modulation.
In the example above, a perfectly acceptable alternate chord scale for the
Conversely, if the intent were to prepare the listener more clearly for the
arrival of E major, a B Mixolydian scale in measure 8 would help to do so.
This would require an adjustment in the melody, a creative choice that
would have to be balanced with all the composer’s intentions.
harmony 3
Chromatic Approach Chords Another mechanism to create a modulation is the use of chromatic ap-
proach chords. The approach chord(s) and the target chord must have the
same quality, e.g. minor 7; any other diatonic function that the approach
chord has (such as a substitute dominant function) is most often stronger
than the chromatic function.
and G b maj7 are approach chords to the new tonic chord of Gmaj7. The
to show their relationship to the key. In the example below, Emaj7, Fmaj7
chord scale for chromatic approach chords is generally the same as the
scale for the target chord.
Medium bossa
E b maj7
Imaj7 VI–7
b j j
& b b 44 œ . œ œj œ œ œj œ
C–7
j œ. j
œ w œ w
B b7 E b maj7 G b maj7
II–7 V7 (I)
b j j
F–7 Emaj7 Fmaj7
& b b œ. j j œ nœ œ œ. Aœ œ. œ œ. j
œ œ œ œ œ œ œ J œ ˙
chromatic
bb j Œ. j
Gmaj7 E–7 A–7 Fmaj7
& b #œ. j nœ ˙ nœ œ nœ
œ nœ œ œ ˙. œ œ.
Deceptive Resolution From V7 Down a half-step: (V7) has a subV7 relationship to new key:
(V7)
subV7⁄
A b7( # 11) G b maj7
V V7sus4 subV7 Imaj7
subV7⁄
(b IImaj7)
A b7( # 11) D b maj7
V V7sus4 (V7) Imaj7
& 44 b ww bbbbb w
G7sus4 G7(9)
˙˙ ˙˙ w
? 44 b ww ˙˙ ˙˙ bb b b w
w
bw ˙ ˙ b w
(b IIImaj7)
subV7⁄
b # E b maj7
V V7sus4 (V7) Imaj7
& 44 b ww b b b ww
A 7( 11) G7sus4 G7(9)
˙˙ ˙˙
? 44 b ww ˙˙ ˙˙ ww
bw ˙ ˙ bbb
w
harmony 3
Up a half-step: (V7) to bVImaj7 as a new Imaj7:
subV7⁄ (bVImaj7)
A b7( # 11) A b maj7
V V7sus4 (V7) Imaj7
4 bbbb w
G7sus4 G7(9)
& 4 b ww ˙˙ ˙˙ w
? 44 b ww ˙
˙ ˙˙ w
bb b w
bw ˙ ˙ b w
V7sus4 bVII7
(V7)
subV7⁄
A b7( # 11)
V Imaj7
###
G7sus4 G7(9) Amaj7
& 44 b ww ˙˙ ˙˙ ww
? 4 b ww ˙˙ ˙˙ # # # ww
4 bw ˙ ˙ w
Deceptive Resolution From In the following five examples, the secondary dominants in the key of D
Secondary Dominants resolve deceptively. As pivot chords they have an actual resolution to a
new key. In each case the dominant chord resolves down a perfect fifth to
the expected root but unexpected quality.
# ####
Dmaj7 Gmaj7 Cmaj7 B7
& # 44 œœ ..
j j
j ˙˙ # ˙˙
œœ ˙˙ œœ . œœ ˙˙ œœ .. œœ ˙˙
.
? # # 44 œœ .. œœ ˙˙ j
n œœ ..
œœ .. œœ ˙˙ œœ ˙˙ ˙˙ ˙˙ ####
J J
Emaj7 C # –7
Imaj7 VI–7 IVmaj7 V7 Imaj7
##
& # # ˙˙
Amaj7 B7 Emaj7
˙˙ ˙˙ ˙˙ ww
? # # # # ˙˙ ˙˙ ˙˙ ˙ ww
˙
# 4 #### #
Imaj7 II–7 III–7
& # 4 ww w w
ww
˙˙ ˙
# ˙˙ #
w ww ˙
? # # 44 ˙ #### #
w w #˙ #
w
# ## # ˙˙
Imaj7 VI–7 IVmaj7 V7 Imaj7
& # # ˙˙˙ ˙˙
˙ ˙ ˙˙˙ ww
w
? #### # ˙ ˙ ˙ w
# ˙
(V7/IV) has a V7 relationship to the new key. (Since this is very closely
related to the original key, it may not initially sound like a modulation.
Duration, melody activity and a confirming cadence would help to more
clearly establish the new key.)
V7⁄
IV ( )
V7
# #
Imaj7 III–7 IVmaj7 ⁄ V V7
# œ œœ œ
Imaj7 III–7 V7sus4 V7 Imaj7
harmony 3
(V7/V) has a V7 relationship to new key:
VI–7
(V7⁄ V)
# 4 j j j ##
I IV I V7
#
Imaj7 IVmaj7 V7sus4 V7 Imaj7
& # ˙˙˙ ˙˙
˙ ˙˙˙ ˙˙˙ ww
w
? ## ˙
˙ ˙ ˙ w
### 4 j #### #
A Dmaj7 B–7
#### # j
Bmaj7 Amaj7 Gmaj7
& # œœœ œ œ œ œ œ œœ j ˙ œ. œœ ww
œœ .. œœ ˙˙ n ˙˙ n œœ .. œ w
œ œ. œ ˙
? #### # j j j j
# œ. œ œ. œ œ. œ ˙ n˙ nœ. œ w
Transitional Modulation
# . .
& 44 œ Jœ œ œ œ œ œ œ œ œ œ œœ
Gmaj7 Cmaj7 B–7 E–7 A–7 D7sus4 D7
œ œ œ
J œœ œ œ
B b maj7 C–7 E b –7 G b maj7
# . œ œ. j j bœ œ bœ bœ
& œ
Cmaj7 B7 D–7 F–7
J œ œ œ œ . b Jœ œ . œ bœ œ b
B b maj7
j j œ œ
Fmaj7 C7sus4 C7 Fmaj7
&b œ œ œ œ. J œ œ œ w
harmony 3
change. The final modulation is now to E b major, prepared by the F–7 B b7
The same example could easily modulate to a different key with very little
in measure 8:
# 4 . .
& 4 œ Jœ œ œ œ œ œ œ œ œ œ œœ
Gmaj7 Cmaj7 B–7 E–7 A–7 D7sus4 D7
J œ œ œ œ œ œœ
B b maj7 C–7 E b –7 B b7
# . j j bœ œ bœ bœ
& œ œ œ. bbb
Cmaj7 B7 D–7 F–7
J œ œ œ œ . b œJ œ . œ bœ œ
œ œ. J œ œ œ œ w
# . .
& 44 œ Jœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ
Gmaj7 Cmaj7 B–7 E–7 A–7 D7sus4 D7
J œœ
B b maj7 C–7 E b –7 B b7
# . œ œ. j j bœ œ bœ bœ n
& œ
Cmaj7 B7 D–7 F–7
J œ œ œ œ . b Jœ œ . œ bœ œ
j j œ
Cmaj7 Fmaj7 G7sus4 G7 Cmaj7
&œ œ œ œ. J œ œ œ œ
w
76 harmony 3