Chord Function Chart 12.10.pdf

Chord Function Chart Chro Chroma mati ti scale degree of root 1

Major (Diatonic) IMaj7 (9, 13)

Allan Chase 12/93; rev. 4/09c for Berklee

Dom. or Chrom. Sec. Passing Dom.** Chords Function V7/IV (9, 13)

V7/IV I6 (9**, b13) (Maj 7, 9) in minor context #1

II-7 (9, 11) (13?)

#2

Mixolydian Modal Interch. I7 (9, 13)

IMaj7 (9,+11,1 3)

IMaj7 (9, 13)

I6 (Maj 7, 9, +11)

I6 I7 (Maj 7, 9) (sus 4) (9, 13)

Dorian Modal Interch. I-7 (9, 11, 13)

Nat. Mi/ Aeolian Modal Interch. I-7 (9, 11)

III-7 (11)

V7/bVI (9, 13) in minor context V7/VI (b9, +9, b13) III°7 or VII°7/IV (11, b13)

© 1993, 2010 Allan S. Chase

Phrygian Modal Interch. I-7 (11)

I-6 (9, 11)

Locrian Modal Interch.

Ascend. Melodic Minor

Harm. Minor

I-6 (Maj 7, 9, 11)

I-(Maj7) (9, 11)

I-(Maj7) (9,11, 13)

Blues, Special Function, Other I7 (+9,13) (and +11?) I°7 (Maj 7, 9, 11)

bIIMaj7 (9,+11, 13)

sub V7 (+9, +11,13) V7/V (9, 13) (or 9, +11,13)** #II°7 (Maj7, b13) sub V7/II (9,+11, 13)

b3

3

Ionian (=Maj.)

#I°7 (Maj 7, b13) sub V7 (9,+11, 13)

b2

2

Lydian Modal Interch.

bII6 (7, 9, +11) II7 (9, 13)

II-7 (11)

II-7(b5) (11, b13) (also 9* in major context)

II-7 (11) (13?)

II-7(b5) (11)

II7 (9, +11, 13) not acting as V7/V

bIII°7 (Maj 7, 9, b13)

bIIIMaj7 (9,+11, 13)

bIIIMaj7 (9, 13)

bIIIMaj7 (+5) (9,+11)

bIIIMaj7 (+5) (9)

bIII-7 (9, 11)

bIII6 (Maj 7, 9, +11)

bIII6 (Maj 7, 9)

bIII7 (9 +11, 13) not acting as sub V7/II

III-7 (9, 11)

II-7 (9, 11, 13?)

III-7 (11)

II-7 (9, 11)

Chord Function Chart Chromati scale degree of root 4

Major (Diatonic) IVMaj7 (9,+11, 13)


Dom. or Chrom. Sec. Passing Dom. Chords Function sub V7/III (9,+11, 13)


IVMaj7 (9,+11, 13)

IV6 (Maj 7, 9, +11)

#4

Ionian (=Maj.)

IV6 (Maj 7, 9, +11)

Mixolydian Modal Interch. IVMaj7 (9, 13)

Dorian Modal Interch. IV7 (9, 13)

IV6 (Maj 7, 9)

Nat. Mi/ Aeolian Modal Interch. IV-7 (9, 11, 13)

Phrygian Modal Interch. IV-7 (9, 11)



Harm. Minor

IV7 (9,+11, 13)

IV-7 (9, 13)

IV-6 (9, 11) (also Maj 7* in major context)

Blues, Special Function, Other IV7 (9) (or +9) (+11, 13)

IV-6 (9, 11)

#IV°7 (Maj 7, 11, b13) #IV-7 (b5) (11, b13) sub V7/IV (9,+11, 13)

b5

#IV-7 (b5) (11, b13) bV°7 (7, 11, b13)

bVMaj7 (9,+11, 13) bV6 (Maj 7, 9, +11)

5

#5

b6

V7 (9, 13)

V7 (9, 13)

V7 (sus4) (9, 13)

V7 (sus4) (9, 13) #V°7 (Maj 7, b13) sub V7/V (9,+11, 13) bVI-6 (9) as a dominant


VMaj7 (9, 13)

bVI°7 (Maj 7, b13)

V7 (9, 13)

V-7 (9, 11, 13)

V-7 (9, 11)

V-7 (11)

V7 (9, b13)

V7 (b9, b13)

V7 (sus4) (b9)

V7 (sus4) (9)

V7 (sus4) (b9)

bVIMaj7 (9,+11, 13)

bVIMaj7 (9, 13)

bVI6 bVI6 (Maj 7, 9, (Maj 7, 9) +11)

bVIMaj7 (+11, 13)

V°7 (9, 11) usually leading to V7

bVI7 (9, +11, 13) not acting as sub V7/V

Chord Function Chart Chromati scale degree of root 6

b7

Major (Diatonic) VI-7 (9, 11)


Dom. or Chrom. Sec. Passing Dom. Chords Function V7/II (9, b13) or (b9, +9, b13) sub V7/VI (9,+11, 13)


Ionian (=Maj.)

VI-7 (9, 11, 13)

VI-7 (9, 11)

Mixolydian Modal Interch. VI-7 (11)

Dorian Modal Interch.

bVIIMaj7 (9,+11, 13)

bVIIMaj7 (9, 13)

bVII6 (Maj 7, 9, +11)

Nat. Mi/ Aeolian Modal Interch.

Phrygian Modal Interch.



Harm. Minor

Blues, Special Function, Other

VI-7(b5) (9,11, b13) bVII7 (9, 13) (also +11* in bVII6 major (Maj 7, 9) context)

bVII-7 (9,11, 13)

bVII7 (sus 4) (9, 13) 7 (LT)

VII-7 (b5) V7/III (11, b13) (b9, +9, b13)

VII7 (9, +11, 13)

VII-7 (11)

VII-7 (b5) (11, b13)

VII-7 (b5) (b13)

VII°7 (Maj 7?, 11, b13)

VII°7 (b13) (Maj 7 also used but not in Harm. mi. scale)

VII7 (9, +11, 13) not acting as V7/III

Notes: (1) The all-capital Roman numerals followed by full chord symbols used here are often used in jazz and popular music analysis, where major and minor modes are mixed freely. Flats and sharps are relative to the tonic major scale; for example, even in a C minor context, a chord on Eb is labeled bIII. (An alternative system that is more consistent with most classical analysis is to use lower-case Roman numerals for any chords with a minor third.) (2) The symbols and numbers used here are generally consistent with those used at Berklee in Harmony department courses. “sub V7/x” means “the tritone substitute for the dominant of x.” For example, in F major, Gb7 is sub V7, the tritone substitute dominant that can be used in place of V7 (C7). The two chords share the same tritone (spelled enharmonically), and the descending half-step root motion of Gb7 to F substitutes for the descending perfect fifth root motion of C7 to F. (Like other primary and secondary dominants, sub V7 chords may resolve deceptively — they don t always progress to their expected target chord.) (3) The most common chord extensions (“tensions” at Berklee) are given in (). They are numbered from the root of the chord in relation to the major scale regardless of the diatonic context; for example, Ab on a C7 chord in an F minor context is called b13, not 13. In most cases, the commonly used tensions are diatonic to the key of the passage, and/or to the mode or scale which is the source of the chord tones. (sub V7s are an exception; they all have 9, +11, and 13 as their usual, expected tensions). However, dominant 7th and th °7 chords may also use other tensions (including any of the following: 9 or b9/+9, +11[b5], b13 [+5] or 13 for dominant 7 chords with any kind of dominant function; Maj 7, 9, 11, b13 for °7s). Tensions not found on the chart above are usually resolved by halfstep to a diatonic tone. Tensions given in the chart can be treated as harmonic tones; that is, they can be leapt away from, or !


Chord Function Chart


followed by a rest. However, in traditional melodic styles, tensions (and major 7ths) are usually resolved by step to more consonant tones, often indirectly—sometimes very indirectly, after a relatively long delay. (The term “tension” comes from arranging practices in which tensions are usually resolved by step.) th th The abbreviation 7(alt) is used to indicate the combination of altered 5 and 9 , or a group of tensions with b9 and/or +9 and b5 and/or th th th +5 on a dominant 7 chord (with no perfect fifth). The choice of which altered 5 and 9 to use is left up to the player. The implied th scale is the “altered scale” (also called Superlocrian), which is like starting an ascending melodic minor scale on its 7 degree: 1 b9 +9 3 b5 +5 b7 (spelled enharmonically as is convenient). **Diatonic tensions on some secodary dominants (V7/x, not sub V7/x) are different when the chord occurs in a minor-key context, and not all of these differences are shown here due to space limitations. (4) Dominant 7th chords with secondary dominant function may be preceded by the -7 or -7(b5) chord whose root is a perfect fifth above (forming a secondary II V progression) or a minor second above (forming a chromatic II V; this is more common when the dominant is a sub V7). If this secondary II (or “related II-7”) chord also functions as a diatonic or modal interchange chord in the primary key (“dual function”), then it usually has the tensions given for its primary key function. If it does not have a function in the primary key, then its tensions come from the secondary key, as if it were II-7: the -7 chord in a major (secondary) key context has tensions 9 and 11 (and rarely 13), and -7(b5) chords in major or minor (secondary) key contexts have tensions 11 and b13 (and sometimes 9). (5) The 7th (or 6th) of any chord listed here may be omitted, making it a triad. *(6) 9 on II-7(b5), Maj 7 on IV-6, and +11 on bVII7 are not diatonic to the natural mi nor scale (Aeolian mode ), but are often used in a major-key context because they are diatonic to the major key. (In all three cases, the note in question is scale degree 3 of the major key.) (7) Aside from related II-7s and II-7(b5)s that don t have dual function, this chart aims to list every tertial (or sus 4) functional chord one is likely to find in tonal or modal music. Some rare special cases exist, but most chords found in tonal or modal jazz or popular music tunes which are not in this chart are either non-functional harmonies (often using parallel motion), deliberately ambiguous harmonies, transitional harmonies between keys, or better heard in relation to a new key. Having said that, there are many examples of exceptions to common practice in j azz where unexpected dissonances are used freely, dating back at least to 1939 (for example, some Coleman Hawkins solos). Exceptions become more common by 1949 (for example, Birth of the Cool arrangements, Lennie Tristano tunes and solos by members of his band, etc.). Rather than thinking of them as rules, these patterns of common practice are better understood as expected conventions that can be, and often are, violated for good musical effect. !


Chord Function Chart 12.10.pdf

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