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 for Chord Substitution and Scale Selection •
Harmonic Analysis Introduction
• Harmonic Analysis for Chord Substitution and Scale Selection
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 for Chord Substitution and Scale Selection •
Harmonic Analysis Contents
• Harmonic Analysis for Chord Substitution and Scale Selection
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.
Harmonic Analysis for Chord Substitution and Scale Selection •
Harmonic Analysis Basic Concepts
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
Harmonic Analysis Basic Concepts
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 Basic Concepts
12 • Harmonic Analysis for Chord Substitution and Scale Selection
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 for Chord Substitution and Scale Selection •13
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.
14 • Harmonic Analysis for Chord Substitution and Scale Selection
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
Harmonic Analysis Full Diatonic
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)
16 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Full Diatonic
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
Harmonic Analysis Full Diatonic
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.
18 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Full Diatonic
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
Harmonic Analysis Full Diatonic
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
20 • Harmonic Analysis for Chord Substitution and Scale Selection
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.
Harmonic Analysis for Chord Substitution and Scale Selection •21
Harmonic Analysis Partial Diatonic
Try these Partial Diatonic Major chord progressions in various keys using the Major Harmonized Chord charts.
22 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Partial Diatonic
Try these Full Diatonic Minor chord progressions in various keys using the Minor Harmonized Chord charts.
Harmonic Analysis for Chord Substitution and Scale Selection •23
Harmonic Analysis Partial Diatonic
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
24 • Harmonic Analysis for Chord Substitution and Scale Selection
B7 B7
Em7 Emaj7
... ...
Harmonic Analysis Partial Diatonic
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, .
Harmonic Analysis for Chord Substitution and Scale Selection •25
Harmonic Analysis Partial Diatonic
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.)
26 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Partial Diatonic
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
Harmonic Analysis for Chord Substitution and Scale Selection •27
Harmonic Analysis Partial Diatonic
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.
28 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Partial Diatonic
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 for Chord Substitution and Scale Selection •29
Harmonic Analysis Partial Diatonic
30 • Harmonic Analysis for Chord Substitution and Scale Selection
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 for Chord Substitution and Scale Selection •31
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
Descending Whole Steps
Solar
bar 3
Descending Whole Steps
Airegin
bridge
Descending Half Steps
Bluesette
bar 3
Descending Whole Steps
32 • Harmonic Analysis for Chord Substitution and Scale Selection
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 for Chord Substitution and Scale Selection •33
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
34 • Harmonic Analysis for Chord Substitution and Scale Selection
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.
Harmonic Analysis for Chord Substitution and Scale Selection •35
Harmonic Analysis Chromatic
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.
36 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Chromatic
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
Harmonic Analysis for Chord Substitution and Scale Selection •37
Harmonic Analysis Chromatic
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
38 • Harmonic Analysis for Chord Substitution and Scale Selection
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 for Chord Substitution and Scale Selection •39
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
40 • Harmonic Analysis for Chord Substitution and Scale Selection
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 Analysis for Chord Substitution and Scale Selection •41
Harmonic Analysis Common Chord Functions
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 )
42 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Common Chord Functions
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 for Chord Substitution and Scale Selection •43
Harmonic Analysis Common Chord Functions
44 • Harmonic Analysis for Chord Substitution and Scale Selection
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
Harmonic Analysis Common Harmonic Sequences
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
46 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Common Harmonic Sequences
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 for Chord Substitution and Scale Selection •47
Harmonic Analysis Common Harmonic Sequences
48 • Harmonic Analysis for Chord Substitution and Scale Selection
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
Harmonic Analysis for Chord Substitution and Scale Selection •49
Harmonic Analysis Scale Selection
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.
50 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Scale Selection
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 for Chord Substitution and Scale Selection •51
Harmonic Analysis Scale Selection
52 • Harmonic Analysis for Chord Substitution and Scale Selection
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
Harmonic Analysis for Chord Substitution and Scale Selection •53
Harmonic Analysis Substitution Principles
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.
54 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Substitution Principles
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.
Harmonic Analysis for Chord Substitution and Scale Selection •55
Harmonic Analysis Substitution Principles
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
Harmonic Analysis Substitution Principles
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.
Harmonic Analysis for Chord Substitution and Scale Selection •57
Harmonic Analysis Substitution Principles
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.
58 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Worksheets
IV
V
Dominant
Subdominant
I
TONIC
Worksheet Examples This section contains a blank Harmonic Analysis worksheet and some sample song analysis.
Harmonic Analysis for Chord Substitution and Scale Selection •59
TITLE
60 • Harmonic Analysis for Chord Substitution and Scale Selection
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
Harmonic Analysis for Chord Substitution and Scale Selection •61
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
62 • Harmonic Analysis for Chord Substitution and Scale Selection
•/•
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 for Chord Substitution and Scale Selection •63
64 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Major & Minor Scale Charts
Major & Minor Scales Harmonized Chord Charts Major Minor
Harmonic Analysis for Chord Substitution and Scale Selection •65
Harmonic Analysis Major & Minor Scale Charts
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
66 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Major & Minor Scale Charts
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 for Chord Substitution and Scale Selection •67
Harmonic Analysis Major & Minor Scale Charts
68 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Traditional Scale Charts
Traditional Scales Harmonized Chord Charts Tonic Minor Harmonic Minor Diminished Whole Tone
Harmonic Analysis for Chord Substitution and Scale Selection •69
Harmonic Analysis Traditional Scale Charts
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
70 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Traditional Scale Charts
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
Harmonic Analysis for Chord Substitution and Scale Selection •71
Harmonic Analysis Traditional Scale Charts
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.
72 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Modal Scale Charts
Modal Scales Harmonized Chord Charts Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian
Harmonic Analysis for Chord Substitution and Scale Selection •73
Harmonic Analysis Modal Scale Charts
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.
74 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Modal Scale Charts
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
Harmonic Analysis for Chord Substitution and Scale Selection •75
Harmonic Analysis Modal Scale Charts
Dorian
Full Diatonic Modal Tonality
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
* Characteristic Scale Step
76 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Modal Scale Charts
Phrygian
Full Diatonic Modal Tonality
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
Harmonic Analysis Modal Scale Charts
Lydian
Full Diatonic Modal Tonality
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
78 • Harmonic Analysis for Chord Substitution and Scale Selection
* Characteristic Scale Step
Harmonic Analysis Modal Scale Charts
Mixolydian
Full Diatonic Modal Tonality
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
* Characteristic Scale Step
Harmonic Analysis for Chord Substitution and Scale Selection •79
Harmonic Analysis Modal Scale Charts
Aeolian
Full Diatonic Modal Tonality
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
80 • Harmonic Analysis for Chord Substitution and Scale Selection
* Characteristic Scale Step
Harmonic Analysis Modal Scale Charts
Locrian
Full Diatonic Modal Tonality
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 Modal Scale Charts
82 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Pentatonic Scale Charts
Contemporary Scales Harmonized Chord Charts Blues Major Blues Minor Pentatonic Major
Harmonic Analysis for Chord Substitution and Scale Selection •83
Harmonic Analysis Pentatonic Scale Charts
Blues Major
Full Diatonic Tonality
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
84 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Pentatonic Scale Charts
Blues Minor
Full Diatonic Tonality
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
Harmonic Analysis for Chord Substitution and Scale Selection •85
Harmonic Analysis Pentatonic Scale Charts
Pentatonic
Full Diatonic Tonality
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
86 • Harmonic Analysis for Chord Substitution and Scale Selection
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
Harmonic Analysis for Chord Substitution and Scale Selection •87
Harmonic Analysis Summary
88 • Harmonic Analysis for Chord Substitution and Scale Selection
Harmonic Analysis Summary
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
Harmonic Analysis for Chord Substitution and Scale Selection •89
Harmonic Analysis Summary
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
90 • Harmonic Analysis for Chord Substitution and Scale Selection
20050602.1.2.5
