chromatic harmony rep. examples

LearnMusicTheory.net 3.8 Chromatic Harmony: Representative Examples Bb: V/ii SECONDARY FUNCTIONS ii e: V7 /V Tonicized chord can be any diatonic major or minor triad. Mm7 = "secondary dominant?"; dim triad/7th = "secondary LT?" V D: vii˚6 /IV IV B: vii˚7 /V V d: vii¯7/VI VI C: iv MODE MIXTURE Borrowing harmonies from the parallel major or minor key. Major V in minor is diatonic, not mode mixture! D: bIII A: bVI G: bVII Eb: ii˚ F#: vii˚7 C: N6 NEAPOLITAN CHORDS b2! V LT! Major triad built on b2 pitch; usually inverted; Usually leads to V or cad. 6/4; b2 note moves to LT of key; Double 3rd in 1st inversion or root in root position. f#: N6 b2! cad. V LT! 6 4 V e: N Diminished 5th in bass for root position N to V. b2! V LT! c: It+6 +6 CHORDS Notice: Ab - C = M3, C - F# = A4, Ab - F# = +6; also Ab and F# each move a m2 in contrary motion. Fr+6 adds a M2 above the "center note" of the It+6; Ger+6 adds a m3 above the "center note" of the It+6. Other, unusual resolutions and voicings are occasionally found. All include augmented sixth interval; usually +6 resolves to an 8ve; usually both notes of the +6 resolve to the 5th step of the scale V c: Fr+6 V c: Ger+6 cad. 6 4 V V A: V+ V+ / AUGMENTED DOMINANT I Augmented dominant chords have two tendency tones: the LT, which tends to go to tonic, and the #5th, which resolves up by step. V+7 has 3 tendency tones. Note the LT resolving down in the inner voice in this ex. to give a complete tonic triad. C: V+7 I Copyright © 2010 by Mark Feezell. All Rights Reserved. B: (ct˚7 ) COMMON-TONE DIM. 7th CHORDS Root as C.T. V7 A: (ct˚7 ) 3rd as C.T. The note that is held over (the "common tone") becomes the ROOT of the resolution chord. (CT can be any of 4 notes in dim7.) I6 G: (ct˚7 ) 5th as C.T. IV6 Ab: (ct˚7 ) 7th as C.T. V6 C: V Vsub6 CHORDS I Vsub6 is an abbreviated escape tone figure (see below). Not technically a chromatic chord. Sub6 note on top normally, always resolves down a third. Pitches of III chord, but moves to V. C: V esc. I C: V sub6 E subs. for D I

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Chromatic Harmony Ex.

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LearnMusicTheory.net3.8 Chromatic Harmony: Representative Examples

Bb: V/ii

SECONDARY FUNCTIONSii

e: V7 /V

Tonicized chord can be any diatonic major or minor triad.Mm7 = "secondary dominant?"; dim triad/7th = "secondary LT?"

V

D: vii 6 /IV

IV

B: vii 7 /V

V

d: vii7/VI

VI

C: iv

MODE MIXTURE

Borrowing harmonies from the parallel major or minor key.Major V in minor is diatonic, not mode mixture!

D: bIII

A: bVI

G: bVII

Eb: ii

F#: vii 7

C: N6

NEAPOLITAN CHORDS

b2!V

LT!Major triad built on b2 pitch; usually inverted; Usually leads to V or cad. 6/4;b2 note moves to LT of key; Double 3rd in 1st inversion or root in root position.

f#: N6

b2!

cad.V

LT!

64 V

e: NDiminished 5th in bassfor root position N to V.

b2!

V

LT!

c: It+6

+6 CHORDS

Notice: Ab - C = M3, C - F# = A4, Ab - F# = +6; also Ab and F# each move a m2 in contrary motion.Fr+6 adds a M2 above the "center note" of the It+6; Ger+6 adds a m3 above the "center note" of the It+6.Other, unusual resolutions and voicings are occasionally found.

All include augmented sixth interval; usually +6 resolves to an 8ve;usually both notes of the +6 resolve to the 5th step of the scale

V

c: Fr+6

V

c: Ger+6

cad.

64V

V

A: V+

V+ / AUGMENTED DOMINANT

I

Augmented dominant chords have two tendency tones: the LT, whichtends to go to tonic, and the #5th, which resolves up by step.

V+7 has 3 tendency tones. Note the LT resolving downin the inner voice in this ex. to give a complete tonic triad.

C: V+7

I

Copyright 2010 by Mark Feezell. All Rights Reserved.

B: (ct 7 )

COMMON-TONE DIM. 7th CHORDSRoot as C.T.

V 7

A: (ct 7 )

3rd as C.T.

The note that is held over (the "common tone") becomes theROOT of the resolution chord. (CT can be any of 4 notes in dim7.)

I 6

G: (ct 7 )

5th as C.T.

IV 6

Ab: (ct 7 )

7th as C.T.V 6

C: V

Vsub6 CHORDS

I

Vsub6 is an abbreviated escape tone figure (see below). Not technically a chromatic chord.Sub6 note on top normally, always resolves down a third. Pitches of III chord, but moves to V.

C: V

esc.

I

C: Vsub6

E subs. for DI