sheller, curt. 2003. harmonic analysis for scale selection and chord substitution

Harmonic analysis

for Scale Selection and Chord Substitution

by Curt Sheller

Curt Sheller Publications2050 Orlando Rd., Suite 101Pottstown, PA 19464-2348www.curtsheller.com

with harmonized

scale charts

Harmonic Analysisfor Scale Selection and Chord Substitutionwith 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

PB • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�

ForewordThe 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 Forward

� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •PB

Harmonic Analysis Introduction

Harmonic Analysis for Chord Substitution and Scale Selection •�

IntroductionThis 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 for Chord Substitution and Scale Selection

Harmonic Analysis Contents

PB • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�

Contents

Foreword ........................................................3

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

Basic Concepts ............................................9Root 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

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

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

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

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

Common Major Keys ........................... 41

Common Chord Progressions ............ 41

Harmonic Function of Chords ............ 42

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

Im ImL7 Im7 Im6 ................................... 45

Im7 Im7+5 Im6 ...................................... 46

Picardy Third ......................................... 46

Chromatic Sevenths ............................ 46

Confirmation Sequence ..................... 47

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

Vertical Scale Choices ....................... 49

Horizontal Scale Choices ................... 50

Alternate Scale Choices ..................... 51

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 ........................................................ 66Minor Key ......................................................... 67Harmonic Minor .............................................. 70Tonic Minor ...................................................... 71Ionian ............................................................... 75Dorian .............................................................. 76Phrygian ........................................................... 77Lydian............................................................... 78Mixolydian ....................................................... 79Aeolian ............................................................ 80Locrian ............................................................. 81Blues Major ...................................................... 84Blues Minor ...................................................... 85Pentatonic ....................................................... 86

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

Harmonic Analysis Contents

� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •PB

Harmonic Analysis Basic Concepts

Harmonic Analysis for Chord Substitution and Scale Selection •�

Basic ConceptsHarmonic 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.

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SUBDOMINANT DOMINANTVIV

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10 • Harmonic Analysis for Chord Substitution and Scale Selection

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 Em F G Am B° 4-Part Chords Cmaj7 Dm7 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 Em F G Am B°

4-Part Chords Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5 I II III IV V VI VII

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 Tonic II Supertonic III Mediant IV Subdominant V Dominant VI Submediant VII Leading Tone


Harmonic Analysis for Chord Substitution and Scale Selection •11

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.

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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 Overview

PB • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •1�

The Six Harmonic PrinciplesOverview

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.

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Harmonic Analysis Overview

1� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •PB

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

Harmonic Analysis for Chord Substitution and Scale Selection • 1�

Full DiatonicA 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.

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1� • Harmonic Analysis for Chord Substitution and Scale Selection

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 I4) 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.


1� • Harmonic Analysis for Chord Substitution and Scale Selection

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



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

PB • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •21

Partial DiatonicA 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.

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22 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •2�22 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •2�

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 for Chord Substitution and Scale Selection •2�


22 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •2�

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


2� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •2�2� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •2�

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 EXAMPLES Key of C

I VI� II Cmaj7 A7 Dm7 ... Cm7 Ab7 (Dbmaj7) ...

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.

VII7 --> V of III

V of III EXAMPLES Key of C

I VII� III Cmaj7 B7 Em7 ... Cm7 B7 Emaj7 ...

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.

2� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •2�



I7 --> V of IV

V of IV EXAMPLES Key of C

I I� IV Cmaj7 C7 Fmaj7 ... Cm7 C7 Fm7 ... Note: Major and Minor Tonalities

II7 --> V of V

V of V EXAMPLES Key of C

I II� V Cmaj7 D7 G7 ... Cm7 D7 G7 ... Note: Major and Minor Tonalities

III7 --> V of VI

V of VI EXAMPLES Key of C

I III� VI Cmaj7 E7 Am7 ... Cm7 Eb7 Abmaj7 ... Note: Major and Minor Tonalities

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. 7-9Some 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- If 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.

ExamplesinKeyofC

#I°7(bII) = VI7b9 C#°7 = A7b9/C#

#II°7(bIII) = VII7b9 D#°7 = B7b9/D#

#IV°7 (bV)= III7b9 F#°7 = E7b9/F#

#V°7 (bVI)= II7b9 G#°7 = 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)


�0 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •PB

Harmonic Analysis Internal Modulation

PB • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�1

Internal ModulationAn 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.

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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 VI

Example C Dm Em F G Am

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

Harmonic Analysis Unresolved

PB • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •��

UnresolvedThe 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.

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Harmonic Analysis Unresolved

�� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •PB

Songs ExamplesUnresolved 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


ChromaticChords 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.

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�� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •��

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.

�� • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •��



Try these Chromatic Major chord progressions in various major keys.

* See 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


CycleA 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.

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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

PB • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�1

Common Chord Functions and Progressions

Common Major Keys

Rock: E, A, D, G, CFolk/Country: E, D, CJazz: 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.

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�2 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •��2 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •��

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 Tonic Approximately

II Supertonic 75 to 80% of

V Dominant all chord progressions

I TonicI7 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 )

�2 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •��


�2 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •��

V DominantVm7 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

VII� Leading Tone - substitute for V

Harmonic Analysis Common Harmonic Sequences

Harmonic Analysis for Chord Substitution and Scale Selection •��

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.

ScaleChoices: 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.

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* minMaj 7


�� • Harmonic Analysis for Chord Substitution and Scale Selection

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 II V/I II V/I II V I/IV

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)


�� • Harmonic Analysis for Chord Substitution and Scale Selection

Harmonic Analysis Scale Selection


Scale SelectionOnce 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)

Lydian

m7 Dorian

Aeolian (Natural Minor)

Harmonic Minor

mL7 Tonic Minor

m6 Dorian

7 Mixolydian

Diminished 7 Diminished

Augmented 7 Whole Tone

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�0 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�1�0 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�1

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.

- For Seventh chords resolving up a perfect fourth (or down a perfect fifth) to a major chord type use a Mixolydian scale.

- For 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.

�0 • Harmonic Analysis for Chord Substitution and Scale Selection Harmonic Analysis for Chord Substitution and Scale Selection •�1



Unresolved


Cycle

Use the vertical scale per chord approach

Chromatic


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


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

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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

Alterations (#4, b5, #5, b9, #9, #11, b13). No new harmonic analysis is needed, possible new scales choices apply.

Non-superimposed substitutions are direct substitutions, either replacing or expanding the existing chord.



Note Substitution

6 for maj7, m6 for m7, mL7* for m7. No new analysis is needed, same scales 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

Connective chords, A NEW harmonic analysis is needed, resulting in new scale choices.

Re-harmonizations

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

* minMaj7




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

G� 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


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

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Original Key: TITLE


Original Key: EbTITLEMisty

Ebmaj7

I

Bbm7 Eb7

Vm7I7

Abm7 Db7

II V

Ebmaj7 Cm7

I VI

Fm7 Bb7 Gm7 C7 Fm7 Bb7 Eb6 •/•

II V III VI7 II V I

ToASongFormAABA

Bbm7 Eb7 Abmaj7 •/• Am7 D7 Cm7 F7

II V I II V II V

Gm7 C7 Fm7 Bb7

III VI7 II V

Abmaj7 Abm6

IV IVm6

URURInternalModulation(IM)

UR

1. 2.

Eb)EbIonian EbMix AbDorian DbMix EbIonian

CMix-2-6

Ab)AbIonian ADorianDMix CDorian FMix

Eb)EbIonian CMix-2-6EbIonian

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.

B

TURNBACK

TURNBACK

A


TITLERhythm Changes

Bbmaj7 Bb7 Ebmaj7 Ebm6 Bbmaj7 F7 Bbmaj7 F7

I I7 IV IVm6 I V I V

Bbmaj7 Gm7 Cm7 F7

I VI II V

ToASongFormAABA

Bbmaj7 D7 •/• G7 •/• C7 •/•

I III7 VI7 II7

F7 •/•

V

ChainedSecondaryDominantCycleaPerfectFourthapart-akaRhythmChangesBridge

SD TURNBACK

Bb.BbIonian

BbMixolydian EbDorian BbIonian

DMixolydian GMixolydian CMixolydian

FMixolydian

1.

2.

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.

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

Bbmaj7Bb7/AbEbmaj7/GEbm6/GbBbmaj7/FF7Bbmaj7F7

A

B

*

Original Key: Bb


Original Key: Bb(GCommon)TITLEBluesette

Gmaj7

I

•/• Em7 A7

I/II V

Dm7 G7

I/II V

Cmaj7 •/• Cm7 F7 Bbmaj7 •/•

I/IV II V I

Bbm7 Eb7 Abmaj7 •/• Am7b5 D7

II V I II V

Bm7 Bb7 Am7 Ab7 Gmaj7 •/•

III bIII7 II bII7 I

F#m7b5 B7

II V

IM *

IM

G)GIonian Em)F#Locrian Dm)EDorian AMix-2-6 C)DDorian GMixolydian

Bb)BbIonian

Ab)AbIonian Gm)ALocrian(AMicardyThird)

G)GIonian BbMix-2-6 GIonian AbMix-2-6 GIonian

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.

A ↓�Common II V cycle to the IV chord starting on the VII chord. Sometimes called the "Confirmation Sequence" after the Charlie Parker tune of the same name. Also referred to "back cycling" to the I.

Harmonic Analysis Major & Minor Scale Charts


Major & Minor Scales

Harmonized Chord Charts

MajorMinor



Major KeyFull Diatonic Key Tonality

IPassive

IIActive

IIIPassive

IVActive

VActive

VIPassive

VIIActive

Triads

4 part

maj

maj7

mi

m7

mi

m7

maj

maj7

maj

7

mi

m7

dim

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




IPassive

IIActive

IIIPassive

IVActive

VActive

VIPassive

VIIActive

Triads

4 part

mi

m7

dim

m7b5

maj

maj7

mi

mi7

maj

7

maj

maj7

dim

dim7

Minor KeyFull Diatonic Key Tonality

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

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#

Harmonic Analysis Traditional Scale Charts


Traditional ScalesHarmonized Chord Charts

Tonic Minor Harmonic Minor

DiminishedWhole Tone



Harmonic MinorFull Diatonic Tonality

IPassive

IIActive

IIIPassive

IVActive

VActive

VIPassive

VIIActive

Traids

4 part

mi

mL7

dim

m7b5

aug

+(L7)

mi

m7

maj

7

maj

maj7

dim

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 MinorFull Diatonic Tonality

IPassive

IIActive

IIIPassive

IVActive

VActive

VIPassive

VIIActive

Traids

4 part

mi

mL7

mi

m7

aug

+(L7)

maj

7

maj

7

dim

m7b5

dim

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



DiminishedFull Diatonic Tonality

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

Whole ToneFull Diatonic Tonality

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

Harmonic Analysis Modal Scale Charts


Modal ScalesHarmonized Chord Charts

IonianDorian

PhrygianLydian

MixolydianAeolianLocrian



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.




IonianFull Diatonic Modal Tonality

I*Primary

IISecondary

IIISecondary

IVPrimary

VSecondary

VIPrimary

VIIDiminished

Traids

4 part

maj

maj7

mi

m7

mi

m7

maj

maj7

maj

7

mi

m7

dim

m7b5

* Characteristic Scale Step

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



DorianFull Diatonic Modal Tonality

IPrimary

IIPrimary

IIISecondary

IVPrimary

VSecondary

VI*Diminished

VIISecondary

Triads

4 part

mi

m7

mi

m7

maj

maj7

maj

7

mi

mi7

dim

dim7

maj

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




PhrygianFull Diatonic Modal Tonality

IPrimary

II* Primary

IIISecondary

IVSecondary

VDiminished

VISecondary

VIIPrimary

Triads

4 part

mi

m7

maj

maj7

maj

7

mi

m7

dim

dim7

maj

maj7

mi

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



LydianFull Diatonic Modal Tonality

IPrimary

IIPrimary

IIISecondary

IV*Diminished

VSecondary

VISecondary

VIIPrimary

Triads

4 part

maj

maj7

maj

7

mi

m7

dim

m7b5

maj

maj7

mi

m7

mi

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




MixolydianFull Diatonic Modal Tonality

IPrimary

IISecondary

IIIDiminished

IVSecondary

VPrimary

VISecondary

VII*Primary

Triads

4 part

maj

7

mi

m7

dim

m7b5

maj

maj7

mi

m7

mi

m7

maj

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



AeolianFull Diatonic Modal Tonality

IPrimary

IIDiminished

*IIIPrimary

IVPrimary

VPrimary

VIPrimary

VIIPrimary

Triads

4 part

mi

m7

dim

m7b5

maj

maj7

mi

m7

mi

m7

maj

maj7

maj

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




LocrianFull Diatonic Modal Tonality

IPrimary

*IISecondary

IIIPrimary

IVSecondary

VPrimary

VISecondary

VIISecondary

Triads

4 part

dim

m7b5

maj

maj7

mi

m7

mi

m7

maj

maj7

maj

7

mi

m7

* * Characteristic Scale Step Scale Step

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

Harmonic Analysis Pentatonic Scale Charts


Contemporary Scales

Harmonized Chord Charts

Blues MajorBlues Minor

Pentatonic Major



Blues MajorFull Diatonic Tonality

I III IV V VI VII

Triads

4 part

maj

7

maj maj

7

maj

7

maj

maj7

maj

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




I II III IV V VI VII

Triads

4 part

mi

m7

dim

m7b5

maj

maj7

mi

mi7

maj

7

maj

maj7

dim

dim7

Blues MinorFull Diatonic Tonality

I III IV V bVI VII

Traids

4 part

mi maj mi mi maj

maj7

maj

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

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



PentatonicFull Diatonic Tonality

I II III V VI bVII

Triads

4 part

maj

7

mi

m7

mi

m7

mi

m7

mi

m7

maj

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



SummaryI 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

TONIC


I



IndexSymbols

4-part chord

4-part chords 10

A

Alternate Scale Choices

Lydian 51

B

Bluesette 63

C

Chord

Active 11

Passive 11

Chord Inversions 54

Chromatic 14, 41

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

Dominant 10

F

Full Diatonic 13, 15, 19, 20, 41

H

Harmonic Analysis 9

Harmonic Function of Chords

Dominant 42

Leading Tone 43

Supertonic 42

Tonic 42

V of II 43

V of III 43

V of IV 42

V of V 42

V of VI 42

Harmonized Chord Scale 10

I

Internal Modulation 13, 41

K

Key center 11

L

Leading Tone 10

Linking Chords 56

Lydian Scale 51

M

Mediant 10

Minor Third Substitution Principle 57

Misty 61

N

Note Substitution 56

P

Partial Diatonic 13, 41

Picardy Third 46

R

Re-harmonizations 56

Rhythm Changes 62

RMA 9

Root Movement Analysis 9


�0 • Harmonic Analysis for Chord Substitution and Scale Selection

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

200�0�02.1.2.�

sheller, curt. 2003. harmonic analysis for scale selection and chord substitution

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