SHELLER, Curt. 2003. Harmonic Analysis for Scale Selection and Chord Substitution

Harmonic Analysis

for Scale Selection and Chord Substitution

by Curt Sheller

with ized

n harmo harts c scale

Curt Sheller Publications 2050 Orlando Rd., Suite 101 Pottstown, PA 19464-2348 www.curtsheller.com

Harmonic Analysis

for Scale Selection and Chord Substitution with Harmonized Scale Charts by Curt Sheller

Copyright © 2003 by Curt Sheller All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information, contact Curt Sheller Publications. Crut Sheller Publications 2050 Orlando Rd., Suite 101 Pottstown, PA 19464-2348 International Standard Book Number (ISBN)

ISBN-10: 0-9714044-2-9

ISBN-13: 978-0-9714044-2-7

Printed and bound in the United States of America

Harmonic Analysis Forward

Foreword The understanding of a chord's function within a chord progression is the first step in the process of scale selection for improvisation and creating melodies as well as applying the principles of chord and scale substitution.

Harmonic Analysis for Chord Substitution and Scale Selection •

Harmonic Analysis Forward

• Harmonic Analysis for Chord Substitution and Scale Selection

Harmonic Analysis Introduction

Introduction This book focuses on the following topics: • analysis of chord function within chord progressions • scale selection based on chord function • chord and scale substitution principles This book focuses on chord progressions based on Tonic-Dominant harmony found in the Jazz and Popular songs widely considered to be part of the "standard" jazz repertoire. The principles in this book are based on extensive research and application. A special thanks to Chuck Anderson for many of the concepts put forth in this book. Additional information and sample worksheets can be found on the web at: ˛ www.curtsheller.com/books/RMA1.html ˛


Harmonic Analysis Introduction


Harmonic Analysis Contents

Contents Foreword......................................................... 3

Scale Selection............................................ 49

Introduction.................................................... 5

Vertical Scale Choices . ...................... 49 Horizontal Scale Choices . .................. 50 Alternate Scale Choices...................... 51

Basic Concepts............................................. 9 Root Movement Analysis....................... 9 The Harmonized Chord Scale............. 10 Tonic-Dominant Harmony.................... 11

The Six Harmonic Principles..................... 13 Full Diatonic.................................................. 15 Determining Tonality............................. 15

Partial Diatonic............................................ 21 Secondary Dominants......................... 24 Chained Secondary Dominant Cycles.................................. 27 Diminished Chords?.............................. 28

Internal Modulation.................................... 31 Determining a Modulation.................. 31 Pivot or Double Function Chords........ 31 Common Modulations......................... 32 Tierce de Picardy.................................. 32

Chord & Scale Substitution Principles................................. 53 Diatonic Chord Substitutions............... 53 Direct Substitutions................................ 54 Minor Third Substitution Principle......... 57

Worksheet Examples................................. 59 Blank Worksheet.................................... 60 Misty........................................................ 61 Rhythm Changes.................................. 62 Bluesette................................................ 63

Harmonized Chord Charts....................... 65 Major Key......................................................... 66 Minor Key.......................................................... 67 Harmonic Minor............................................... 70 Tonic Minor....................................................... 71 Ionian................................................................ 75

Unresolved................................................... 33

Dorian............................................................... 76

Chromatic.................................................... 35

Phrygian............................................................ 77

Cycle............................................................. 39

Lydian............................................................... 78 Mixolydian........................................................ 79

Common Chord Functions and Progressions ................................................ 41

Aeolian............................................................. 80

Common Major Keys............................ 41 Common Chord Progressions............. 41 Harmonic Function of Chords............. 42

Blues Major....................................................... 84

Common Harmonic Sequences............ 45

Locrian.............................................................. 81 Blues Minor....................................................... 85 Pentatonic........................................................ 86

Summary...................................................... 87

Im ImL7 Im7 Im6.................................... 45 Im7 Im7+5 Im6....................................... 46 Picardy Third.......................................... 46 Chromatic Sevenths............................. 46 Confirmation Sequence...................... 47


Harmonic Analysis Contents


Harmonic Analysis Basic Concepts

IV

V

Dominant

Subdominant

I

TONIC

Basic Concepts Harmonic Analysis (HA) is the process used to determine the harmonic function of chords within a chord progression. A chord progression is defined as a sequence of chords, each chord has a root and is of a particular chord type. The relationship of a chord's root to a scale determines its function within that scale's tonality. Once a chord's function is identified scale selections along with chord and scale substitutions can be made. We call this process Root Movement Analysis (RMA)

Root Movement Analysis Root Movement Analysis is the process of determining the root movement of chords within a chord progression, the chord types that are used as well as identifying tonal centers. This root movement can be determined and categorized using one of six harmonic principles and the harmonized chord charts contained in this book. These principles are covered in the next chapters.



The Harmonized Chord Scale The most common intervals used for building chords are major and minor thirds. This can be accomplished by stacking every other note of a scale or mode. This stacking of notes creates chords using a combination of major and minor thirds. A minimum of three notes is needed to create a chord. These three note chords are called triads. Four notes make up 4-part chords, five notes make up a 5-part chord, all the way up to chords that include all the notes of the scale. These chords create a Harmonized Chord Scale that is used for a Root Movement Analysis. For the purposes of harmonic analysis this book uses triads and 4-part chords only. Here are the triads and 4-part chords that form a harmonized C major scale. Example: C Major Harmonized Scale

Triads C Dm 4-Part Chords Cmaj7 Dm7

Em

F

G

Am

B°

Em7 Fmaj7 G7

Am7

Bm7b5

By applying roman numerals to the chords of a harmonized scale a comparison of chord progressions can be made.

Triads C Dm 4-Part Chords Cmaj7 Dm7 I II

Em

G

Am

B°

Em7 Fmaj7 G7

Am7

Bm7b5

VI

VII

III

F

IV

V

This book uses uppercase roman numerals only to identify a chord's function within its harmonized chord scale. These names are commonly used to indicate a chord's position and function within its corresponding major scale.

I II III IV V VI VII

Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone

10 • Harmonic Analysis for Chord Substitution and Scale Selection


Tonic-Dominant Harmony This book focuses on Tonic-Dominant harmony predominant in Western music and a staple of a jazz musician's repertoire. Tonic-Dominant harmony stresses the use of key centers which are defined by the use of a tonic (I) chord. These tonic chords are usually preceded and supported by a dominant (V) chord. A dominant chord is sometimes preceded by the subdominant (IV) chord which tends to resolve towards the dominant chord which either resolves to the tonic chord or goes back to the subdominant delaying final resolution to the tonic chord. A tonic (I) chord is a passive chord having a feeling of rest. A dominant (V) chord is an active chord having a feeling of restlessness and tends to be drawn to its tonic I chord. An active chord is a triad that contains the fourth of its scale. A passive chord is any triad that contains the third of the scale.

IV

V

Dominant

Subdominant

I

TONIC

Most progressions are "tonal" with at least one key center being established. Songs can and do modulate through multiple key centers. Many of the songs that are considered part of the standard jazz repertoire modulate through several key centers. Most folk and rock songs establish a main key center and do not modulate to other key centers.

Harmonic Analysis for Chord Substitution and Scale Selection •11



Harmonic Analysis Overview

IV

V

Dominant

Subdominant

I

TONIC

The Six Harmonic Principles Overview Here is an overview of the six harmonic principles outlined in this book.

Full Diatonic A Full Diatonic (FD) chord is defined as a chord that has its root and species (chord type) in its harmonized chord chart. (Harmonized chord charts are located in the back of this book)

Partial Diatonic A Partial Diatonic (PD) chord is defined as a chord that has its root in chord chart but its species is NOT in its harmonized chord chart.

Internal Modulation An Internal Modulation (IM) is when a change of tonal center has occurred.

Unresolved Unresolved (UR) is when a chord is in its harmonized chord chart but does not resolve to the I chord.


Harmonic Analysis Overview

Chromatic Chords ascending or descending by Chromatic (CH) half steps between roots. The root and species are NOT in the harmonized chord chart.

Cycle A Cycle (Cyl) is when there is an equal distance between chord roots and same species for each chord, ascending or descending. A minimum of three chords is required for a Cycle.


Harmonic Analysis Full Diatonic

IV

V

Dominant

Subdominant

I

TONIC

Full Diatonic A Full Diatonic chord is defined as a chord that has its root and species (chord type) in its harmonized chord chart. A Full Diatonic progression can be based on a scale or mode. WORKSHEET NOTATION: Label these chords with UPPERCASE roman numerals and the tonality or key center using an uppercase letter. There is no need to indicated the chord type with its roman numeral. (See examples)

Determining Tonality The first thing to do for a Root Movement Analysis (RMA) is to determine the starting tonality or key center. Once the starting tonality has been discovered a harmonized chord chart can be selected to identify chord functions. There are several clues that can be used to determine a starting tonality.

Key Signatures A key signature is a summary of the sharps, flats and natural notes used in a section of music. Traditional key signatures represent major and their relative minor keys. A key signature can represent any scale or mode.

Harmonic Analysis for Chord Substitution and Scale Selection • 15


Getting Started The key signature can sometimes be used to determine the starting tonality. More often the last chord of a progression will most likely be the tonic or I chord and the main or central tonality. Even if the tonality can not be determined a harmonic analysis can be started. Start by determining the first tonal center using the clues (key signature and or last chord or note). Now find its harmonized chord chart. The most common tonality is Major comprising of a large majority of contemporary music. Start assigning roman numerals to the basic chords of the progression. Ignore single beat chords, the upper partials of chords such as ninths, elevenths and thirteenths. Ignore alterations such as flat and sharp nines, sharp elevenths. Familiarize yourself with both the basic triads and 4-part chords types in each of the harmonized chord charts.

EXAMPLE 1 Starting with this simple, very common chord progression and the Major and Minor harmonized chord charts we'll take each chord one at time.

The first chord, a Dm7 is in both the major and minor charts. In a major tonality it functions as a II chord in the key of C, a III chord in the key of Bb and a VI chord in the key of F. In a minor tonality it functions as a I chord in the key of D minor and as the IV chord in the key of A minor. (5 choices) The second chord, G7 is found in both the major and minor charts but only as a V chord in the key of C major or C minor. Store this information away for future reference. (2 choices) The Cmaj7 chord function as a I chord in the key of C major, the IV chord in the key G major. In a minor tonality it functions as a III chord in key of A minor or VI chord in the key of E minor. (4 choices)



Here are the possibilities we now have using the Major and Minor Harmonized Chord charts: Key Center: Chord Function 1)

Dm:

I

IV7

#Imaj7

2)

Am:

IV

bVII7

IIImaj7

3)

C:

II

V

I

4)

Bb:

III

VI7

IImaj7

5)

F:

VI

II7

Vmaj7

We can rule out numbers 1 and 2 as the one of the chords in each of the progression do not show up in the major or minor harmonized scale chart. We can then rule out numbers 4 and 5 as they do not have I or tonic chords. This leaves number three as the best choice. This is one of the most common progressions used in contemporary music. You will see this progression more than any other progression, especially in jazz standards. 1)

Dm:

I

IV7

#Imaj7

2)

Am:

IV

bVII7

IIImaj7

3)

C:

II

V

I

4)

Bb:

III

VI7

IImaj7

5)

F:

VI

II7

Vmaj7

Using uppercase roman numerals place a II under the Dm7, a V under the G7 and a I under the Cmaj7. To indicate the key place an uppercase letter before the II with a colon following the letter to indicate the tonal center.

Harmonic Analysis for Chord Substitution and Scale Selection • 17


EXAMPLE 2

Using the above chord progression and the Major harmonized chord chart. The roman numerals I II III IV would be applied. At first thought this progression can be either in the key of C major or F major based on the first or last chord. Upon further investigation we can see that major chords function as either a I and IV chord. C major is the only key with both C and F as major chords. The Dm7 is a II chord and the Em7 a III chord.

EXAMPLE 3

Using the above chord progression and the Major harmonized chord chart. The roman numerals I VI II V would be applied. Here the G7 offers the best clue and it is functioning as a V chord to the Cmaj7 I chord. Am7 is the VI chord in the key of C and we see the old standby II V chords.



Try these Full Diatonic Major chord progressions in various keys using the Major Harmonized Chord charts.

Try these Full Diatonic Minor chord progressions in various keys using the Minor Harmonized Chord charts.

Songs Examples Harmonic Analysis for Chord Substitution and Scale Selection • 19


See my book The Advanced Guide to Chord Progressions for Guitar - Vol I for the most common Full Diatonic chord progressions with their analysis. Lots of folk and children's songs as well as many rock and popular songs contain Full Diatonic progressions or sections and are a good place to practice your RMA. Here are a few examples of jazz songs with full diatonic progressions. Many songs contain full diatonic sections. Full Diatonic is the most common harmonic principle. All The Things Your Are Starts off with VI II V I IV major of the key of the song Tune Up Various II V I progressions modulating through descending major key centers a whole step apart Blue Bossa Starts full diatonic minor and modulates to Full Diatonic major 1/2 step higher than starting key center Fly Me To The Moon

measures 1-4 VI II V I

Sway

All of the A or first section of the song

Moondance

First section Full Diatonic Dorian

So What Full Diatonic Dorian with half step modulation to Dorian Autumn Leaves measures 1-4 II V I IV major measures 1-4 II V I minor


Harmonic Analysis Partial Diatonic

IV

V

Dominant

Subdominant

I

TONIC

Partial Diatonic A Partial Diatonic chord is defined as a chord that has its root in the harmonized chord chart but its species is NOT in harmonized chord chart. Partial Diatonic chords are used to link chords without leaving the current key center. WORKSHEET NOTATION: Label these chords with uppercase roman numerals and chord type information. Example: I7, IVm6, I°7, etc. There is no change of tonality or key center.

EXAMPLE 1

Using the above chord progression and the Major harmonized chord chart we see a II V I in the key of C major. But what about that D7. The root D is the second degree or II in the key of C major but the chord type is not correct. The II chord in a major key is minor or m7 not a 7th chord. This is a Partial Diatonic chord. We label this chord as a II7 chord.



Try these Partial Diatonic Major chord progressions in various keys using the Major Harmonized Chord charts.



Try these Full Diatonic Minor chord progressions in various keys using the Minor Harmonized Chord charts.



Secondary Dominants

V of ... A common function of a Partial Diatonic chord in Tonic-Dominant harmony is to act as a Secondary Dominant, a linking chord. A Secondary Dominant chord is defined as any seventh chord built on a scale root that resolves up a perfect fourth or down a perfect fifth to a Full Diatonic chord. These chords function as a dominant (V) chord to the next chord, serving as a temporarily tonicize the following chord. For any secondary dominant chord its II chord can also precede it. Secondary Dominant chords fall under the Partial Diatonic harmonic principle and are labeled as such. Here are the possible Secondary Dominant chords as defined by the above definition for both Major and Minor tonalities.

VI7 --> V of II

V of II

I

VI7

Note: Major only, Minor does not fit our definition as Ab7 would resolve to Dm7b5 which is not a chord in the key of Cm.

EXAMPLES Key of C

II

Cmaj7 Cm7

A7 Ab7

Dm7 (Dbmaj7)

... ...

VII7 --> V of III

V of III

EXAMPLES Key of C

VII7 III

I

Note: Major only, Minor does not fit our definition as B7 would resolve to Emaj7 which is not a chord in the key of Cm.

Cmaj7 Cm7


B7 B7

Em7 Emaj7

... ...


I7 --> V of IV

V of IV

EXAMPLES Key of C

I I7 IV Note: Major and Minor Tonalities

Cmaj7 Cm7

C7 C7

Fmaj7

...

G7

...

Am7

...

Fm7

...

II7 --> V of V

V of V

EXAMPLES Key of C

I II7 V Note: Major and Minor Tonalities

Cmaj7 Cm7

D7 D7

G7

...

III7 --> V of VI

V of VI

EXAMPLES Key of C

I III7 VI Note: Major and Minor Tonalities

Cmaj7 Cm7

E7

Eb7

Abmaj7

...

The I7, II7, III7 are possible in both major and minor tonalities. The VI7 and VII7 are possible in major tonalities only, .



Partial Diatonic Song Examples I7

A Foggy Day - bar 10

Fly Me To The Moon - bar 4

Bluesette - bar 8

II7

Desafinado - bar 3

The Girl From Ipanema - bar 3

On Green Dolphin Street - bar 5

Jersey Bounce - bar 3

A Foggy Day - bar 7

Watch What Happens - bar 3

Bluesette - bar 6

III7

All of Me - bars 3-4 and bars 9-10

Bluesette - bar 4

VI7

(There are lots of examples of this secondary dominant chords in turnarounds or turnbacks.)

VII7

(Not a lot of examples of this secondary dominant are found in the standard jazz repetoire.)



Chained Secondary Dominant Cycles When several Secondary Dominant chords are used in a row and resolve up a fourth or down a fifth to a seventh chord, they are called a chained secondary dominant cycle.

These Secondary Dominant chords can be preceded by there II chords.

For scale selection treat the Chained Secondary Dominant chords as series of Unresolved V chords or II V chords.

Secondary Dominant Cycle Examples I Got Rhythm (Bridge)*

III7

VI7

II7

V7

Scrapple the Apple (Rhythm Changes Bridge)*

III7

VI7

II7

V7

Jordu contains two secondary dominant cycles in the bridge. Stompin' at the Savoy contains a secondary dominant cycle in the bridge



starting on the IV7 chord.

Diminished Chords?

° 7 vs. 7-9 Some diminished chords are really functioning as disguised Secondary Dominant chords. So...

Q.

When is a diminished chord NOT a diminished chord?

To determine if a diminished chord is functioning as a disguised Secondary Dominant write out all four notes of the diminished chord:

EXAMPLE: C#o7 = C# E G Bb

- Drop each note 1/2 step and make each a root of a 7th chord:

C7, Eb7, Gb7, A7

- I f next chord is a major 7 or minor 7, which if it was a I chord and the preceding chord could be its V chord. Then the diminished chord is really a 7 flat 9 chord — A disguised Secondary Dominant. This is a common notational practive to insure that a specific chord tone is played as the lowest note of the chord voicing. Slash chord notation should have been used.

Examples in Key of C

#I°7(bII) = VI7b9 #II°7(bIII) = VII7b9 #IV°7 (bV)= III7b9 #V°7 (bVI)= II7b9

C#°7 = D#°7 = F#°7 = G#°7 =

A7b9/C# B7b9/D# E7b9/F# D7b9/G#

A. When a diminished seventh chord resolves to a chord 1/2 step above its root it is functioning as a disguised Secondary Dominant chord.



Songs Examples See my book The Advanced Guide to Chord Progressions for Guitar - Vol I for the most common Partial Diatonic chord progressions. God Bless The Child

bar 1

I7

bar 1

IV7

Have You Meet Miss Jones

bar 2

I#°7 (VI7)

Hello Dolly

bar 6

I°7

Lover Man

bar 5

I7

bar 6

IV7

Meditation

bar 3

VII7

bar 8

VI7

Satin Doll

bar 5

II7

The Shadow of Your Smile

bar 4

IV7

Someday My Prince Will Come

bar 2

III7

bar 4

VI7

Take the 'A' Train

bar 3

II7

Killer Joe

bar 2

VII7 (Mixolydian)




Harmonic Analysis Internal Modulation

IV

V

Dominant

Subdominant

I

TONIC

Internal Modulation An Internal Modulation is when a change of tonal center has occurred. This modulation can be sudden, prepared, a temporary modulation or an actual modulation. The modulation can be any interval from above or below the original key. A modulation can be from a major to major tonality, a minor to minor tonality, a major to minor tonality, or from a minor to major tonality. Or from a diatonic tonality to a modal tonality or modal to diatonic. Once a modulation has occurred use the other harmonic principles to identify a chord's function. WORKSHEET NOTATION: Use the notation for Full Diatonic, Partial Diatonic, Unresolved, Chromatic, or Cycle as required by the individual principle.

Determining a Modulation If you start getting lots of partial diatonic or chromatic chords in succession then a possible modulation has occurred. Revisit the analysis of the chords in question and apply the principles for Full and Partial Diatonic to determine if a modulation to new tonality or key center has happened.

Pivot or Double Function Chords A pivot or double function chord is defined as a chord that functions in both the current tonality and the new tonality. This chord smoothly prepares a modulation to the new key center.


Harmonic Analysis Internal Modulation

Common Modulations It would seem from the description of modulation that anything is possible. However there are some common modulations to be aware of. a) Closely related keys (Key Signature) Full Diatonic

I

II

III

IV

V

Dm

Em

F

G

Am

Example

C

VI

Partial Diatonic Related Keys (Keep Root, reuse species) Chromatic Related Keys (Root out of key)

bII

bIII bV

bVI

bVII

b) Distant related key (Key Signature) (No more than three accidentals difference)

Tierce de Picardy Tierce de Picardy (Picardy Third) is a common practice of establishing a minor key but resolving it major. Example II V I in the key of C would be Dm7b5 to G7 to Cm7. With the Picardy Third resolution it would be Dm7b5 G7 Cmaj7. Songs such as How High the Moon and Bluesette use this harmonic move.

Songs Examples See my book The Advanced Guide to Chord Progressions for Guitar - Vol II for the most common Internal Modulations. Most folk, rock and blues songs remain in one key. Most jazz and pop standards will modulate to new key centers.

Modulation Interval

All The Things You Are

bar 6 & 14

Up a Major Third

How High The Moon

bar 3

Descending Whole Steps

Tune Up

bar 3


Solar

bar 3


Airegin

bridge

Descending Half Steps

Bluesette

bar 3



Harmonic Analysis Unresolved

IV

V

Dominant

Subdominant

I

TONIC

Unresolved The Unresolved harmonic principle is when a chord is in the harmonized chord chart but does not resolve to its I chord. Most common would be a V chord or II V chords not resolving to their I or tonic chord. This is sometimes referred to as a deceptive resolution. Unresolved chords appear identical to Partial Diatonic chords and are active chords (II IV V VII) but do not resolve to passive chords (I II VI). WORKSHEET NOTATION: Label these chords with uppercase roman numerals and the tonality of what would have been if the chords did resolve to their I chord.

The Duke Ellington , Billy Strayhorn classic Satin Doll is a great example of the Unresolved harmonic principle.


Harmonic Analysis Unresolved

Songs Examples Unresolved II V Four

bar 4, 13

Groovin' High

bar 3 - 4

Joy Spring

bar 3 - 4

Lover Man

bar 1 - 2

Satin Doll

bar 1 - 2, 3 - 4, 6

Wave

Intro vamp


Harmonic Analysis Chromatic

IV

V

Dominant

Subdominant

I

TONIC

Chromatic Chords ascending or descending by Chromatic half steps between roots. The root and species are NOT in the harmonized chord chart. WORKSHEET NOTATION: Label these chords with a flat or sharp, uppercase roman numeral and chord type using the roman numeral of its unaltered scale degree. The tonality or key center does not change.

EXAMPLE 1

Using the above chord progression and the Major harmonized chord chart we see a II V I in the key of C major. But - what about that Eb7. The root Eb is not in the key of C major. An Eb7 chord is V chord in the key of Ab Major or Ab Minor. The progression has not modulated the a new tonal center. This chord is functioning as a chromatic connection from Cmaj7 to Dm7. Label this chord as a bIII7 chord.



EXAMPLE 2

Using the previous chord progression and the Major harmonized chord chart, the roman numerals III bIII7 II bII7 would be applied.

EXAMPLE 3

Using the above chord progression and the Major harmonized chord chart. The roman numerals I bIII7 II bII7 would be applied.



Try these Chromatic Major chord progressions in various major keys.

*S ee the Secondary Dominant section of the Partial Diatonic chapter for information on Diminished chords.

Common Chromatic Chords bII

or

#I

bIII

or

#II

bV

or

#IV

bVI

or

#V

bVII

or

#VI



Songs Examples See my book The Advanced Guide to Chord Progressions for Guitar - Vol I for the most common chromatic chord progressions. Four

2nd ending

III bIII7

Groovin' High

bar 13 - 16

III #IIm7 II bII7

How High The Moon

bar 15, 31

bIII7

Michelle

bar 3

bVII7

bar 4

bVI7

Moonlight In Vermont

bar 4

bVII7

One Note Samba

bar 1 - 8

III bIII II bII

bar 5 of coda bIIImaj7

bar 7 of coda bIImaj7


Harmonic Analysis Cycle

IV

V

Dominant

Subdominant

I

TONIC

Cycle A Cycle is when there is an equal distance between roots (at least 3 chords) and the same species for each chord, ascending or descending. Chords can ascend or descend by intervals of a minor seconds (m2), major seconds (M2), minor thirds (m3), major thirds (M3) or perfect fourths (P4). In order of common to least common P4, m2, M2, m3, M3. A cycle of dominant seventh chords moving in perfect fourths (Chained Secondary Dominants) is an example the most common Cycle harmonic principle. A cycle is sometimes used as a means to modulation to a new tonality or key center. Example C E7 A7 D7 G7 C (I III7 VI7 II7 V I). WORKSHEET NOTATION: Bracket the chords of the cycle indicating the intervalic relationship between the chords. There is typically not a change in tonality or key center.

The standard Watch What Happens contains a cycle for the first and second endings using major seventh chords a minor second apart.


Harmonic Analysis Cycle

Song Examples See my book The Advanced Guide to Chord Progressions for Guitar - Vol II for the most common chord Cycles. Watch What Happens

1st ending Major 7 chords descending and ascending minor seconds

Watch What Happens

2nd ending Major 7 chords ascending minor seconds

I Got Rhythm

Bridge A cycle of Secondary Dominant chords with a distance of a perfect fourth between roots

Jordu

Bridge Contains two dominant seventh chord cycles

Stompin' at the Savoy

Bridge Contains two dominant seventh chord cycles


Harmonic Analysis Common Chord Functions

IV

V

Dominant

Subdominant

I

TONIC

Common Chord Functions and Progressions Common Major Keys Rock: Folk/Country: Jazz:

E, A, D, G, C E, D, C C, F, Bb, Eb, Ab, Db, G

* Their relative minor keys are also common.

Common Chord Progressions For a thorough listing of common chord progressions see my book The Advanced Guide to Chord Progressions for Guitar - Vol I and II. Volume I deals with chord progressions using the Full Diatonic, Partial Diatonic and Chromatic harmonic principles. Volume II deals with Internal Modulation, Unresolved and Cycle principles.



Harmonic Function of Chords Individual chords can be categorized by their most common harmonic function. The following list is based on the Major Harmonized chord scale and shows a chord's most common function.

I II V

Tonic

Approximately

Supertonic

75 to 80% of

I

Tonic

Dominant

all chord progressions

I7 V of IV Secondary Dominant (see Secondary Dominant Chapter), Partial Diatonic major or minor or Internal Modulation Pivot Chord to new key I°7

True Diminished Chord, usually a linking chord between the I and II.

#I°7 VI7b9, disguised Secondary Dominant ( V of II ) bII7 Minor Third Substitution, Tritone sub for V, Usually precedes the I. Common Chromatic harmonic move.

II

Supertonic

- functions as subdominant of I, substitute for IV

II7 V of V Secondary Dominant (see Secondary Dominant Chapter), Partial Diatonic major or minor or Internal Modulation pivot chord to new key #II°7 VII7b9, disguised Secondary Dominant ( V of III ) bIII°7

VII7b9, disguised Secondary Dominant ( V of III )

bIII7 Minor Third Substitution, Tritone substitution for VI, Usually precedes the II. Common Chromatic harmonic move

III

Mediant - substitute for I

III7 V of VI Secondary Dominant (see Secondary Dominant Chapter), Partial Diatonic major or minor or Internal Modulation pivot chord to new key

IV

Subdominant

IVm7 Tonic relief, Temporary key center, Transitional chord between the IV and I, or the II and I IV7 Partial Diatonic or Internal Modulation pivot chord to new key #IV°7 III7b9, disguised Secondary Dominant ( V of VI ) #V°7 II7b9, disquised Secondary Dominant ( V of V )



V

Dominant

Vm7

II of the I7 (II of V of IV)

bVI7

Substitute for IV usually leads to V

VI Submediant - substitute for I, often follows I or occurs between III and II VI7 V of II Secondary Dominant (see Secondary Dominant Chapter), Partial Diatonic major or Internal Modulation pivot chord to new key VII7 V of III Secondary Dominant (see Secondary Dominant Chapter), Partial Diatonic major or Internal Modulation pivot chord to new key bVII7 Minor Third Substitution, Usually occurs between the IV and I. V substitute for IVm7, substitute for V usually leads back to I

VII7 Leading Tone

- substitute for V




Harmonic Analysis Common Harmonic Sequences

IV

V

Dominant

Subdominant

I

TONIC

Common Harmonic Sequences (and not so common) Here are some common harmonic sequences and their analysis with scale choices. (Scale selection is the topic of the next chapter).

Im ImL7 Im7* Im6 Examples of songs with this harmonic sequence or variations are: More, Michelle, Embraceable You, Stairway to Heaven. Scale Choices:

Aeolian (Natural Minor) on the Im

Harmonic Minor on the ImL7

Aeolian (Natural Minor) on the Im7

Dorian on the Im6

- or the Aeolian (Natural Minor) scale over the entire sequence, stressing the inherit chromatic line of the progression.

* minMaj 7 Harmonic Analysis for Chord Substitution and Scale Selection •45


Im7 Im7+5 Im6 Examples of songs with this harmonic sequence are: Witchcraft, Secret Agent Man Theme

Scale Choices: Aeolian (Natural Minor) on the Im7 Harmonic Minor on the Im7+5 Dorian on the Im6

Picardy Third A Picardy Third is when a minor II V resolves to a Major I chord, not the expected Minor I chord. Rarely does the reverse happen where a major II V resolves to a Minor I. (see Internal Modulation chapter)

Scale Choices:

For the II V of a II V I use 1) Harmonic Minor of the I chord (Traditional Sound) 2) Locrian of the II (Contemporary Sound) For the I of a II V I use major of the I or Lydian of the I

Chromatic Sevenths I bVII7 bVI7 V I bVII7 Examples of songs with this harmonic sequence are: Fever, Hit the Road Jack (I, bVII, bVI, V), Tequila (I7 bVII7), Killer Joe (I7 bVII7).

Scale Choices:

Use the Major scale on the I chord Use the Mixolydian +4 scale on the bVII7 and bVI7 chords Use the Mixolydian scale on the V chord



Confirmation Sequence The Confirmation sequence gets its name from the Charlie Parker song of the same name. This sequence typically begins on the I chord of the key and works it way to the IV chord of the key using a series of II V's. The IV chord would be a major chord type (major or seventh). Here is an example from the song Bluesette.

This song could be initially labeled as:

I

VII

III7*

VI

II7*

IVm7

I7*

IV

* Secondary Dominant chords resolving to their I chords.

But would be better labeled as a series of II V's resolving to their I chords, which serve as double function chords, both a I of the V and a II of the next cycle:

I

Scale Choices:

II

V/I

II

V/I

II

V

I/IV

For the II V of a II V I use 1) Harmonic Minor of the I chord (Traditional Sound) 2) Locrian of the II (Contemporary Sound)




Harmonic Analysis Scale Selection

IV

V

Dominant

Subdominant

I

TONIC

Scale Selection Once a harmonic analysis has been completed then scale selections can be made. These scale selections can be either vertical and horizontal choices.

Vertical Scale Choices This is a scale per chord approach. When a new chord is encountered the scale is changed based on the chart below. This is a basic scale selection approach. Additional scales can be played against these chords using the same principles that are used with chord substitution (see the Substitution Principles chapter).

Chord Type

Basic Scale (Starting on Root)

Major

Ionian (Major)

m7

Lydian Dorian

Aeolian (Natural Minor)

Harmonic Minor

mL7

Tonic Minor

m6

Dorian

7

Mixolydian

Diminished 7

Diminished

Augmented 7

Whole Tone



Horizontal Scale Choices Scale choices can be made based on the overall tonality of a progression or portions of a progression using horizontal scale choices. The scale will stay in effect until the analysis requires a different scale. Here are the scale choices applied to the six harmonic principles.

Full Diatonic Chords Full Diatonic Major Use the Major scale of the I chord Full Diatonic Minor Use the Natural Minor scale of the I chord on I and III chords Use the Harmonic Minor scale of the I chord on V and VII chords Use the Natural Minor scale or Harmonic Minor scale of the I chord on II, IV, and VI chords Sample Scale Choices for II V of a II V I

1) Harmonic Minor of the I chord (Traditional Sound)

2) Locrian of the II for a more contemporary sound

Partial Diatonic Use the vertical scale per chord approach. -F or Seventh chords resolving up a perfect fourth (or down a perfect fifth) to a major chord type use a Mixolydian scale. -F or Seventh chords resolving up a perfect fourth (or down a perfect fifth) to a minor chord type use a Mixolydian -2 -6 scale.

Internal Modulation Use a Full Diatonic or Partial Diatonic solution.



Unresolved Use the vertical scale per chord approach.

Cycle Use the vertical scale per chord approach

Chromatic Use the vertical scale per chord approach. For Seventh chords functioning as a bII7, bIII7, bV7, bVI7 or bVII7 use a Mixolydian +4 scale.

Alternate Scale Choices Alternate scale choice should be based on the same principles as chord substitution. The Lydian Scale Uses vs. Ionian Scale If a major chord is not in a full or partial diatonic progression then the Lydian scale is the better vertical scale choice.




Harmonic Analysis Substitution Principles

IV

V

Dominant

Subdominant

I

TONIC

Chord & Scale Substitution Principles Diatonic Chord Substitutions Passive Passive chords can be substituted for Passive chords. (See the harmonized charts for active/passive chord designations) Example VI and III chords can substitute for a I chord Triads with the third of the scale present are passive.

Active Active chords can be substituted for Active chords. (See the harmonized charts for active/passive chord designations) Triads with the fourth of the scale present are active. Example (Major & Minor)

PASSIVE

ACTIVE

I

V

III

II

VI

VII

IV



Direct Substitutions A direct substitute is when the root of the substitute chord matches the root of the original chord. There are two types of direct substitutions, replacement and expansion with the substitution characteristics of being superimposable or non-superimposable.

Replacement Original chord is removed for the substitute.

Expansion Original chord remains plus the substitute in the same time frame.



Superimposed Various upper partials (9, 11, 13). No new harmonic analysis is needed, same scales choices apply.

Superimposed substitutions are direct substitutions, either replacing or expanding the existing chord.

Non-superimposable lterations (#4, b5, #5, b9, #9, #11, b13). No new harmonic analysis is needed, A possible new scales choices apply. Non-superimposed substitutions are direct substitutions, either replacing or expanding the existing chord.



Note Substitution for maj7, m6 for m7, mL7* for m7. No new analysis is needed, same scales 6 choices apply. Note substitutions are direct substitutions, either replacing or expanding the existing chord.

Chord Inversions No new harmonic analysis is needed, same scales choices apply.

Linking Chords onnective chords, A NEW harmonic analysis is needed, resulting in new scale C choices.

Re-harmonizations New chords. A NEW harmonic analysis is needed, resulting in new scale choices.

* minMaj7 56 • Harmonic Analysis for Chord Substitution and Scale Selection


The Minor Third Substitution Principle The Minor Third Substitution Principle state that a chord, any type, whose roots are 1 1/2 steps (a minor third) apart can substitute for each other. The most common are 7th chords. These chords can be proceeded by their II chords.

Example Key of C

V

bVII7--> bII7--> III7

G7

Bb7 -->

Db7 -->

Fb7 (E7)

Fm7 Bb7

|

|

IVm7

Abm7 Db7

|

bVIm7

Bm7 E7

VIIm7

bVII7 A common substitution. Sometimes only the IVm7 or IVm6 chords are used. This substitution is sometimes referred to as a Backdoor, due how the resolution to the I is approached.



bII7 This is the most common Minor Third substitution used in jazz called the tri-tone substitution. This turns a Full Diatonic progression into a Chromatic progression.

III7 A rare substitution.


Harmonic Analysis Worksheets

IV

V

Dominant

Subdominant

I

TONIC

Worksheet Examples This section contains a blank Harmonic Analysis worksheet and some sample song analysis.


TITLE


Original Key:

TITLE

Original Key: Eb

Misty

Sample analysis of the standard Misty. This song is typically done in the key of Eb when done instrumentally. This progression uses the Harmonic Principles: Full Diatonic, Partial Diatonic, Unresolved and Internal Modulation. This sample worksheet also contains the scale choices.

A UR

Ebmaj7

Bbm7 Eb7

Abmaj7

Abm6

Abm7

Db7

Ebmaj7

Cm7

I

Vm7 I7

IV

IVm6

II

V

I

VI

Eb) Eb Ionian

Eb Mix

Ab Dorian

1.

Fm7 II

Db Mix

Gm7

C7

V

III

VI7

Eb Ionian

2.

TURNBACK

Bb7

Fm7 Bb7 II

Eb6

V

•/•

I

C Mix -2 -6

B

Internal Modulation ( IM)

Bbm7

UR

UR

Eb7

Abmaj7

•/•

Am7

D7

Cm7

F7

V

I

II

V

II

V

II Ab) Ab Ionian

A Dorian D Mix

C Dorian

F Mix

TURNBACK

Gm7

C7

Fm7

Bb7

III

VI7

II

V

To A Song Form AABA

Eb) Eb Ionian C Mix -2 -6 Eb Ionian


TITLE

Original Key: Bb

Rhythm Changes

Sample Analysis of the I Got Rhythm / Rhythm Changes. This is the original version. Many versions and chord subs are possible. Next to the Blues progression this is the second most common chord progression in jazz. This progression uses the Harmonic Principles: Full Diatonic, Partial Diatonic and Cycle.

A Bbmaj7

Gm7

Cm7

F7

I

VI

II

V

Bb. Bb Ionian 1.

* Bbmaj7

Bb7

Ebmaj7

Ebm6

Bbmaj7

F7

Bbmaj7

F7

I

I7

IV

IVm6

I

V

I

V

SD

Bb Mixolydian

Eb Dorian Bb Ionian

B

2.

TURNBACK

Chained Secondary Dominant Cycle a Perfect Fourth apart - aka Rhythm Changes Bridge

Bbmaj7

D7

•/•

G7

•/•

C7

I

III7

VI7

II7

D Mixolydian

F7

•/•

G Mixolydian

C Mixolydian

To A Song Form AABA

V F Mixolydian

* Following the bass line (Slash Chord Voicings) is a nice optional touch when playing the song.

Bbmaj7 Bb7/Ab Ebmaj7/G Ebm6/Gb Bbmaj7/F F7 Bbmaj7 F7


•/•

TITLE

Bluesette

Original Key: Bb (G Common)

Sample Analysis of the jazz standard Bluesette. This song is typically done in the key of Bb or G. This progression uses the Harmonic Principles: Full Diatonic, Partial Diatonic, Unresolved and Internal Modulation. ↓Common II V cycle to the IV chord starting on the VII chord. Sometimes called the "Confirmation

A

Sequence" after the Charlie Parker tune of the same name. Also referred to "back cycling" to the I.

Gmaj7

•/•

I G) G Ionian

F#m7b5

B7

Em7

A7

Dm7

G7

II

V

I/II

V

I/II

V

Em) F# Locrian

Dm) E Dorian A Mix -2 -6

C) D Dorian

G Mixolydian

IM

Cmaj7

•/•

Cm7

F7

Bbmaj7

I/IV

II

V

I

•/•

Bb) Bb Ionian IM

*

Bbm7

Eb7

Abmaj7

•/•

Am7b5

D7

II

V

I

II

V

Ab) Ab Ionian

Gm) A Locrian (A Micardy Third)

Bm7

Bb7

Am7

Ab7

III

bIII7

II

bII7

G) G Ionian

Bb Mix -2 -6

G Ionian

Ab Mix -2 -6

Gmaj7

•/•

I G Ionian



Harmonic Analysis Major & Minor Scale Charts

Major & Minor Scales Harmonized Chord Charts Major Minor



Major Key

Full Diatonic Key Tonality

I

II

III

IV

V

VI

VII

Passive

Active

Passive

Active

Active

Passive

Active

Triads

maj

mi

mi

maj

maj

mi

dim

4 part

maj7

m7

m7

maj7

7

m7

m7b5

C

C

D

E

F

G

A

B

G

G

A

B

C

D

E

F#

D

D

E

F#

G

A

B

C#

A

A

B

C#

D

E

F#

G#

E

E

F#

G#

A

B

C#

D#

B

B

C#

D#

E

F#

G#

A#

F#

F#

G#

A#

B

C#

D#

E#

C#

C#

D#

E#

F#

G#

A#

B#

F

F

G

A

Bb

C

D

E

Bb

Bb

C

D

Eb

F

G

A

Eb

Eb

F

G

Ab

Bb

C

D

Ab

Ab

Bb

C

Db

Eb

F

G

Db

Db

Eb

F

Gb

Ab

Bb

C

Gb

Gb

Ab

Bb

Cb

Db

Eb

F

Cb

Cb

Db

Eb

Fb

Gb

Ab

Bb



Minor Key

Full Diatonic Key Tonality

I

II

III

IV

V

VI

VII

Passive

Active

Passive

Active

Active

Passive

Active

Triads

mi

dim

maj

mi

maj

maj

dim

4 part

m7

m7b5

maj7

mi7

7

maj7

dim7

A

A

B

C

D

E

F

G#

E

E

F#

G

A

B

C

D#

B

B

C#

D

E

F#

G

A#

F#

F#

G#

A

B

C#

D

E#

C#

C#

D#

E

F#

G#

A

B#

G#

G#

A#

B

C#

D#

E

Fx

D#

D#

E#

F#

G#

A#

B

Cx

A#

A#

B#

C#

D#

E#

F#

Gx

D

D

E

F

G

A

Bb

C#

G

G

A

Bb

C

D

Eb

F#

C

C

D

Eb

F

G

Ab

B

F

F

G

Ab

Bb

C

Db

E

Bb

Bb

C

Db

Eb

F

Gb

A

Eb

Eb

F

Gb

Ab

Bb

Cb

D

Ab

Ab

Bb

Cb

Db

Eb

Fb

G




Harmonic Analysis Traditional Scale Charts

Traditional Scales Harmonized Chord Charts Tonic Minor Harmonic Minor Diminished Whole Tone



Harmonic Minor Full Diatonic Tonality

I

II

III

IV

V

VI

VII

Passive

Active

Passive

Active

Active

Passive

Active

Traids

mi

dim

aug

mi

maj

maj

dim

4 part

mL7

m7b5

+(L7)

m7

7

maj7

dim7

A

A

B

C

D

E

F

G#

E

E

F#

G

A

B

C

D#

B

B

C#

D

E

F#

G

A#

F#

F#

G#

A

B

C#

D

E#

C#

C#

D#

E

F#

G#

A

B#

G#

G#

A#

B

C#

D#

E

Fx

D#

D#

E#

F#

G#

A#

B

Cx

A#

A#

B#

C#

D#

E#

F#

Gx

D

D

E

F

G

A

Bb

C#

G

G

A

Bb

C

D

Eb

F#

C

C

D

Eb

F

G

Ab

B

F

F

G

Ab

Bb

C

Db

E

Bb

Bb

C

Db

Eb

F

Gb

A

Eb

Eb

F

Gb

Ab

Bb

Cb

D

Ab

Ab

Bb

Cc

Db

Eb

F

G



Tonic Minor

Full Diatonic Tonality

I

II

III

IV

V

VI

VII

Passive

Active

Passive

Active

Active

Passive

Active

Traids

mi

mi

aug

maj

maj

dim

dim

4 part

mL7

m7

+(L7)

7

7

m7b5

m7b5

A

A

B

C

D

E

F#

G#

E

E

F#

G

A

B

C#

D#

B

B

C#

D

E

F#

G#

A#

F#

F#

G#

A

B

C#

D#

E#

C#

C#

D#

E

F#

G#

A#

B#

G#

G#

A#

B

C#

D#

E#

Fx

D#

D#

E#

F#

G#

A#

B#

Cx

A#

A#

B#

C#

D#

E#

Fx

Gx

D

D

E

F

G

A

B

C#

G

G

A

Bb

C

D

E

F#

C

C

D

Eb

F

G

A

B

F

F

G

Ab

Bb

C

D

E

Bb

Bb

C

Db

Eb

F

G

A

Eb

Eb

F

Gb

Ab

Bb

C

D

Ab

Ab

Bb

Cb

Db

Eb

F

G



Diminished Full Diatonic Tonality

All the chords are Diminished chords and can not create a specific tonality.

Whole Tone Full Diatonic Tonality

All the chords are Whole Tone or Augmented chords and can not create a specific tonality.


Harmonic Analysis Modal Scale Charts

Modal Scales Harmonized Chord Charts Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian



The Modes Tonal Tendencies Every mode has three primary chords and three secondary chords and one diminished chord. The primary chords are the major or minor triads containing the characteristic scale interval and the I chord of the mode. The secondary chords are the remaining major and minor triads and teh lone diminished chord in each mode. In the case of the Locrian mode the diminished chord is also the tonic chord, a primary chord. Mode

Characteristic Scale Degree

Dorian

6

Phrygian

2

Lydian

4

Mixolydian

7

Aeolian

3

Locrian

5

Ionian

1

Due to the close relationship of each mode to its embedded major tonality there is a possibility of unintended modulation. Mode

Examples in C

Dorian

Avoid VII

C Dorian avoid F7 to Bbmaj7

Phrygian

Avoid VI

C Phrygian avoid Eb7 to Abmaj7

Lydian

Avoid V

C Lydian avoid D7 to Gmaj7

Mixolydian

Avoid I

C Mixolydian avoid C7 to Fmaj7

Aeolian

Avoid III

C Aeolian avoid Bb7 to Fbmaj7

Locrian

Avoid II

C Locrian avoid Ab7 to Dbm7

Basically avoid the tendency for a 7th chord wanting to resolve to its tonic as if it were a major or minor tonality. Each of the following Modal Scale charts have their primary, secondary and diminished chords indicated.



Ionian

Full Diatonic Modal Tonality

I*

II

III

IV

V

VI

VII

Primary

Secondary

Secondary

Primary

Secondary

Primary

Diminished

Traids

maj

mi

mi

maj

maj

mi

dim

4 part

maj7

m7

m7

maj7

7

m7

m7b5

C

C

D

E

F

G

A

B

G

G

A

B

C

D

E

F#

D

D

E

F#

G

A

B

C#

A

A

B

C#

D

E

F#

G#

E

E

F#

G#

A

B

C#

D#

B

B

C#

D#

E

F#

G#

A#

F#

F#

G#

A#

B

C#

D#

E#

C#

C#

D#

E#

F#

G#

A#

B#

F

F

G

A

Bb

C

D

E

Bb

Bb

C

D

Eb

F

G

A

Eb

Eb

F

G

Ab

Bb

C

D

Ab

Ab

Bb

C

Db

Eb

F

G

Db

Db

Eb

F

Gb

Ab

Bb

C

Gb

Gb

Ab

Bb

Cb

Db

Eb

F

Cb

Cb

Db

Eb

Fb

Gb

Ab

Bb

* Characteristic Scale Step



Dorian


I

II

III

IV

V

VI*

VII

Primary

Primary

Secondary

Primary

Secondary

Diminished

Secondary

Triads

mi

mi

maj

maj

mi

dim

maj

4 part

m7

m7

maj7

7

mi7

dim7

maj7

A

A

B

C

D

E

F#

G

E

E

F#

G

A

B

C#

D

B

B

C#

D

E

F#

G#

A

F#

F#

G#

A

B

C#

D#

E

C#

C#

D#

E

F#

G#

A#

B

G#

G#

A#

B

C#

D#

E#

F#

D#

D#

E#

F#

G#

A#

B#

C#

A#

A#

B#

C#

D#

E#

Fx

G#

D

D

E

F

G

A

B

C

G

G

A

Bb

C

D

E

F

C

C

D

Eb

F

G

A

Bb

F

F

G

Ab

Bb

C

D

Eb

Bb

Bb

C

Db

Eb

F

G

Ab

Eb

Eb

F

Gb

Ab

Bb

C

Db

Ab

Ab

Bb

Cb

Db

Eb

F

Gb




Phrygian


I

II*

III

IV

V

VI

VII

Primary

Primary

Secondary

Secondary

Diminished

Secondary

Primary

Triads

mi

maj

maj

mi

dim

maj

mi

4 part

m7

maj7

7

m7

dim7

maj7

m7

A

A

Bb

C

D

E

F

G

E

E

F

G

A

B

C

D

B

B

C

D

E

F#

G

A

F#

F#

G

A

B

C#

D

E

C#

C#

D

E

F#

G#

A

B

G#

G#

A

B

C#

D#

E

F#

D#

D#

E

F#

G#

A#

B

C#

A#

A#

B

C#

D#

E#

F#

G#

D

D

Eb

F

G

A

Bb

C

G

G

Ab

Bb

C

D

Eb

F

C

C

Db

Eb

F

G

Ab

Bb

F

F

Gb

Ab

Bb

C

Db

Eb

Bb

Bb

Cb

Db

Eb

F

Gb

Ab

Eb

Eb

Fb

Gb

Ab

Bb

Cb

Db

Ab

Ab

Bbb

Cb

Db

Eb

Fb

Gb

* Characteristic Scale Step Harmonic Analysis for Chord Substitution and Scale Selection •77


Lydian


I

II

III

IV*

V

VI

VII

Primary

Primary

Secondary

Diminished

Secondary

Secondary

Primary

Triads

maj

maj

mi

dim

maj

mi

mi

4 part

maj7

7

m7

m7b5

maj7

m7

m7

C

C

D

E

F#

G

A

B

G

G

A

B

C#

D

E

F#

D

D

E

F#

G#

A

B

C#

A

A

B

C#

D#

E

F#

G#

E

E

F#

G#

A#

B

C#

D#

B

B

C#

D#

E#

F#

G#

A#

F#

F#

G#

A#

B#

C#

D#

E#

C#

C#

D#

E#

Fx

G#

A#

B#

F

F

G

A

B

C

D

E

Bb

Bb

C

D

E

F

G

A

Eb

Eb

F

G

A

Bb

C

D

Ab

Ab

Bb

C

D

Eb

F

G

Db

Db

Eb

F

G

Ab

Bb

C

Gb

Gb

Ab

Bb

C

Db

Eb

F

Cb

Cb

Db

Eb

F

Gb

Ab

Bb




Mixolydian


I

II

III

IV

V

VI

VII*

Primary

Secondary

Diminished

Secondary

Primary

Secondary

Primary

Triads

maj

mi

dim

maj

mi

mi

maj

4 part

7

m7

m7b5

maj7

m7

m7

maj7

C

C

D

E

F

G

A

Bb

G

G

A

B

C

D

E

F

D

D

E

F#

G

A

B

C

A

A

B

C#

D

E

F#

G

E

E

F#

G#

A

B

C#

D

B

B

C#

D#

E

F#

G#

A

F#

F#

G#

A#

B

C#

D#

E

C#

C#

D#

E#

F#

G#

A#

B

F

F

G

A

Bb

C

D

Eb

Bb

Bb

C

D

Eb

F

G

Ab

Eb

Eb

F

G

Ab

Bb

C

Db

Ab

Ab

Bb

C

Db

Eb

F

Gb

Db

Db

Eb

F

Gb

Ab

Bb

Cb

Gb

Gb

Ab

Bb

Cb

Db

Eb

Fb

Cb

Cb

Db

Eb

Fb

Gb

Ab

Bbb




Aeolian


I

II

*III

IV

V

VI

VII

Primary

Diminished

Primary

Primary

Primary

Primary

Primary

Triads

mi

dim

maj

mi

mi

maj

maj

4 part

m7

m7b5

maj7

m7

m7

maj7

7

A

A

B

C

D

E

F

G

E

E

F#

G

A

B

C

D

B

B

C#

D

E

F#

G

A

F#

F#

G#

A

B

C#

D

E

C#

C#

D#

E

F#

G#

A

B

G#

G#

A#

B

C#

D#

E

F#

D#

D#

E#

F#

G#

A#

B

C#

A#

A#

B#

C#

D#

E#

F#

G#

D

D

E

F

G

A

Bb

C

G

G

A

Bb

C

D

Eb

F

C

C

D

Eb

F

G

Ab

Bb

F

F

G

Ab

Bb

C

Db

Eb

Bb

Bb

C

Db

Eb

F

Gb

Ab

Eb

Eb

F

Gb

Ab

Bb

Cb

Db

Ab

Ab

Bb

Cb

Db

Eb

Fb

Gb




Locrian


I

*II

III

IV

V

VI

VII

Primary

Secondary

Primary

Secondary

Primary

Secondary

Secondary

Triads

dim

maj

mi

mi

maj

maj

mi

4 part

m7b5

maj7

m7

m7

maj7

7

m7

A

A

Bb

C

D

Eb

F

G

E

E

F

G

A

Bb

C

D

B

B

C

D

E

F

G

A

F#

F#

G

A

B

C

D

E

C#

C#

D

E

F#

G

A

B

G#

G#

A

B

C#

D

E

F#

D#

D#

E

F#

G#

A

B

C#

A#

A#

B

C#

D#

E

F#

G#

D

D

E

F

G

Ab

Bb

C

G

G

Ab

Bb

C

Db

Eb

F

C

C

Db

Eb

F

Gb

Ab

Bb

F

F

Gb

Ab

Bb

Cb

Db

Eb

Bb

Bb

Cb

Db

Eb

Fb

Gb

Ab

Eb

Eb

Fb

Gb

Ab

Bbb

Cb

Db

Ab

Ab

Bbb

Cb

Db

Ebb

Fb

Gb

* * Characteristic Scale Step Scale Step Harmonic Analysis for Chord Substitution and Scale Selection •81



Harmonic Analysis Pentatonic Scale Charts

Contemporary Scales Harmonized Chord Charts Blues Major Blues Minor Pentatonic Major



Blues Major


I

III

IV

V

VI

VII

Triads

maj

maj

maj

maj

maj

maj

4 part

7

7

7

maj7

C

C

Eb

F

G

Ab

Bb

G

G

Bb

C

D

Eb

F

D

D

F

G

A

Bb

C

A

A

C

D

E

F

G

E

E

G

A

B

C

D

B

B

D

E

F#

G

A

F#

F#

A

B

C#

D

E

C#

C#

E

F#

G#

A

B

F

F

Ab

Bb

C

Db

Eb

Bb

Bb

Db

Eb

F

Gb

Ab

Eb

Eb

Gb

Ab

Bb

Cb

Db

Ab

Ab

Cb

Db

Eb

Fb

Gb

Db

Db

Fb

Gb

Ab

Bbb

Cb

Gb

Gb

Bbb

Cb

Db

Ebb

Fb

Cb

Cb

Ebb

Fb

Gb

Abb

Bbb



Blues Minor


I

II

III

IV

V

bVI VI

VII

Traids Triads

mi

dim

maj

mi

maj mi

maj

dim maj

4 part

m7

m7b5

maj7

mi7

7

maj7

dim7

A

A

C

D

E

F

G

E

E

G

A

B

C

D

B

B

D

E

F#

G

A

F#

F#

A

B

C#

D

C#

C#

E

F#

G#

G#

G#

B

C#

D#

E

F#

D#

D#

F#

G#

A#

B

C#

A#

A#

C#

D#

E#

F#

G#

D

D

F

G

A

Bb

C

G

G

Bb

C

D

Eb

F

C

C

Eb

F

G

Ab

Bb

F

F

Ab

Bb

C

Db

Eb

Bb

Bb

Db

Eb

F

Gb

Ab

Eb

Eb

Gb

Ab

Bb

Cb

Db

Ab

Ab

Cb

Db

Eb

Fb

Gb

A

E B



Pentatonic


I

II

III

V

VI

bVII

Triads

maj

mi

mi

mi

mi

maj

4 part

7

m7

m7

m7

m7

maj7

C

C

D

E

G

A

Bb

G

G

A

B

D

E

F

D

D

E

F#

A

B

C

A

A

B

C#

E

F#

G

E

E

F#

G#

B

C#

D

B

B

C#

D#

F#

G#

A

F#

F#

G#

A#

C#

D#

E

C#

C#

D#

E#

G#

A#

B

F

F

G

A

C

D

Eb

Bb

Bb

C

D

F

G

Ab

Eb

Eb

F

G

Bb

C

Db

Ab

Ab

Bb

C

Eb

F

Gb

Db

Db

Eb

F

Ab

Bb

Cb

Gb

Gb

Ab

Bb

Db

Eb

Fb

Cb

Cb

Db

Eb

Gb

Ab

Bbb


Harmonic Analysis Summary

IV

V

Dominant

Subdominant

I

TONIC

Summary I hope this book has shed some light on how chords function. Enjoy and explore!!! Feel free to E-mail me any questions or comments ([email protected]). Visit my website for updates and additional online information. ˛ www.curtsheller.com ˛

Curt Sheller





Index Symbols

Dominant 42

4-part chord

Leading Tone 43 Supertonic 42

4-part chords 10

Tonic 42

A

V of II 43

Alternate Scale Choices

V of III 43 V of IV 42

Lydian 51

V of V 42

B

V of VI 42

Bluesette 63

Harmonized Chord Scale 10

C

I

Chord

Internal Modulation 13, 41

Active 11 Passive 11

K

Chord Inversions 54

Key center 11

Chromatic 14, 41

L

Chromatic Sevenths 46 Common Major Keys 41 Country 41 Folk 41 Jazz 41 Rock 41

Cycle 14 Cycles 41

D Diatonic Substitutions Active 53 Passive 53

Leading Tone 10 Linking Chords 56 Lydian Scale 51

M Mediant 10 Minor Third Substitution Principle 57 Misty 61

N Note Substitution 56

P

Dominant 10

Partial Diatonic 13, 41

F

Picardy Third 46

Full Diatonic 13, 15, 19, 20, 41

R

H

Re-harmonizations 56

Harmonic Analysis 9 Harmonic Function of Chords

Rhythm Changes 62 RMA 9 Root Movement Analysis 9



S Scale Choices Expansion 54 Replacement 54

Subdominant 10 Submediant 10 Substitution Characteristics bII7 58 bVII7 57 III7 58

Supertonic 10

T Tonic 10 Tonic-Dominant Harmony 11 Triad 10 triad 10

U Unresolved 13, 41

W Worksheet Examples 59


20050602.1.2.5

SHELLER, Curt. 2003. Harmonic Analysis for Scale Selection and Chord Substitution

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