Non-Diatonic Chords - Revision history

Meambobbo: /* Secondary Dominant */

2015-07-08T00:41:09Z

‎Secondary Dominant

Meambobbo: /* Notation */

2015-07-08T00:38:50Z

‎Notation

Meambobbo at 01:42, 12 June 2015

2015-06-12T01:42:11Z

Meambobbo: /* Homework */

2015-03-31T04:59:00Z

‎Homework

Meambobbo: /* Chromatic Mediants */

2015-03-30T04:29:49Z

‎Chromatic Mediants

Meambobbo: /* French Sixth */

2015-03-30T02:00:21Z

‎French Sixth

Meambobbo: /* German Sixth */

2015-03-30T01:58:49Z

‎German Sixth

Meambobbo: /* Italian Sixth */

2015-03-30T01:01:29Z

‎Italian Sixth

Meambobbo: /* French Sixth */

2015-03-30T00:58:29Z

‎French Sixth

Meambobbo: /* Augmented Sixth Chords */

2015-03-30T00:52:47Z

‎Augmented Sixth Chords

@@ Line 31: / Line 31: @@
 <small>''also called '''borrowed dominant'''''</small>
-The most common borrowed chord is the V (or V{{7}}) of V chord, commonly notated as ''V/V'' or ''V{{7}}/V''.  Basically, if we think of the current key's V chord as a I chord, it is the V chord above that.  So for the key of C Major, V is G major.  In the key of G Major, V is D major.  Thus, in the key of C Major, V/V is D major.  Notice, the diatonic chord in the key of C Major with a root note of D is actually D minor, making the V/V D major chord a non-diatonic chord.  Similarly, in the key of A Harmonic Minor, V is E major, so V/V is B major.  The diatonic chord would be B diminished.
+The most common borrowed chord is the V (or V{{7}}) of V chord, commonly notated as V/V or V{{7}}/V.  Basically, if we think of the current key's V chord as a I chord, it is the V chord above that.  So for the key of C Major, V is G major.  In the key of G Major, V is D major.  Thus, in the key of C Major, V/V is D major.  Notice, the diatonic chord in the key of C Major with a root note of D is actually D minor, making the V/V D major chord a non-diatonic chord.  Similarly, in the key of A Harmonic Minor, V is E major, so V/V is B major.  The diatonic chord would be B diminished.
 ====Function====

@@ Line 24: / Line 24: @@
 ===Notation===
-The "/" indicates that the chord is borrowed.  The bottom or right side of the slash is the key that is being borrowed from, in relation to the current tonic note.  The left or top side of the slash indicates which chord from that scale is being used.  V/V means the fifth diatonic major chord of the major key whose root is the fifth diatonic note of the current key.
+The "/" indicates that the chord is borrowed.  The bottom or right side of the slash is the key that is being borrowed from, in relation to the current tonic note.  The left or top side of the slash indicates which chord from that scale is being used.  '''V/V''' means the fifth diatonic major chord of the major key whose root is the fifth diatonic note of the current key.
 In the key of C Major, the V/V chord is V/G Major (V of G Major), or D major.

@@ Line 1: / Line 1: @@
 {{Top-Level Crumbs|1}}
+{{Lesson Crumbs|3}}
 {{Advanced Lesson Crumbs|3}}

← Older revision		Revision as of 04:59, 31 March 2015
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	== Homework ==		== Homework ==
		+	* Know what a tonicization is and its harmonic function.
		+	* Practice the above examples of tonicizations.
		+	* Write your own progressions that make use of tonicizations.
		+	* Know what borrowed chords are and how they can be used in terms of harmonic function.
		+	* Practice the above examples of borrowed chords.
		+	* Write your own progressions that make use of borrowed chords.
		+	* Know what an augmented 6th chord is and its harmonic function.
		+	* Know the Italian, French, and German variations.
		+	* Practice the above examples of augmented 6th chords.
		+	* Write your own progressions that make use of augmented 6th chords.
		+	* Know what the Neapolitan 6th chord is its harmonic function.
		+	* Practice the above examples of Neapolitan 6th chord progressions.
		+	* Write your own progressions that make use of the Neapolitan 6th chord.
		+	* Know what chromatic mediants are and how they fit into chord progressions.
		+	* Practice the above examples of chromatic mediants.
		+	* Write your own progressions that make use of chromatic mediants.

	== Q & A ==		== Q & A ==

@@ Line 239: / Line 239: @@
 The mediant relationship between chords is a quite harmonic one, and it's possible to use any combination of mediant chords in succession.  We will lose the tonality of the original key by doing so.  This prevents a complete resolution and might fail to produce closure for a progression, but makes for a very interesting journey.  For example, let's move in mediants and try to return to our tonic:
-  I   III  bvi   I
+  I   III  #v    I
   C   E    G#m   C (= B#)

@@ Line 137: / Line 137: @@
   R    M3    A4    A6
-   -M3-  -M2-  -M3
+   -M3-  -M2-  -M3-
          ----tt----
    ----A4----

@@ Line 156: / Line 156: @@
   R    M3    P5    A6
-   -M3-  -m3-  -M3
+   -M3-  -m3-  -M3-
          ----tt----
    ----P5----
@@ Line 162: / Line 162: @@
 The German 6th is enharmonically equivalent to a dominant 7th chord.  The difference is its usage, functioning as a sub-dominant for the given key rather than the dominant for the {{b}}II key.  The added P5 here makes for difficult voice leading, often requiring to move it before or to resort to inverting the subsequent dominant chord.
 === Neapolitan Chord ===

← Older revision		Revision as of 01:01, 30 March 2015
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	If the chord contained the P5 of the root, it would be enharmonically equivalent to a dominant 7th chord, built upon the {{f}}VI note of the scale. Yet it does not function harmonically as such. Its M3 does not function as a leading tone, and it does not resolve to the {{f}}II chord. Rather the M3 moves down a half-step to become the leading tone for the V chord or up a whole step to be the 5th of the V or v chord. In 4-part writing, the M3 is doubled and each resolves in contrary directions to form the 3rd and 5th of the V chord, while the R and A6 move contrary to both become the root of the V.		If the chord contained the P5 of the root, it would be enharmonically equivalent to a dominant 7th chord, built upon the {{f}}VI note of the scale. Yet it does not function harmonically as such. Its M3 does not function as a leading tone, and it does not resolve to the {{f}}II chord. Rather the M3 moves down a half-step to become the leading tone for the V chord or up a whole step to be the 5th of the V or v chord. In 4-part writing, the M3 is doubled and each resolves in contrary directions to form the 3rd and 5th of the V chord, while the R and A6 move contrary to both become the root of the V.
		+
		+	C AbIt+6 G C
		+	E--0-------------3------0---
		+	B--1------1------3------1---
		+	G--0------1------0------0---
		+	D--2------4------0------2---
		+	A--3------3------2------3---
		+	E---------4------3----------

	==== French Sixth ====		==== French Sixth ====

← Older revision		Revision as of 00:58, 30 March 2015
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	All these notes are found in the [[Exotic Scales#Whole Tone\|whole tone scale]], giving it a somewhat atonal kind of feel; however, it still retains its sub-dominant harmonic function within the context of a progression.		All these notes are found in the [[Exotic Scales#Whole Tone\|whole tone scale]], giving it a somewhat atonal kind of feel; however, it still retains its sub-dominant harmonic function within the context of a progression.
		+
		+	C AbFr+6 G C
		+	E--0-------------3------0---
		+	B--1------3------3------1---
		+	G--0-------------0------0---
		+	D--2------4------0------2---
		+	A--3------3------2------3---
		+	E---------4------3----------

	==== German Sixth ====		==== German Sixth ====

@@ Line 116: / Line 116: @@
 There are 3 variations of the augmented sixth:
-==== Italian ====
+==== Italian Sixth ====
 The '''Italian 6th''' (It+6 or It6) features the m6, U, and A4 notes from the current key.  In other words, it is comprised of root, M3, and A6.  In C Major, it consists of (A{{b}} C F{{s}}).
@@ Line 125: / Line 125: @@
 If the chord contained the P5 of the root, it would be enharmonically equivalent to a dominant 7th chord, built upon the {{f}}VI note of the scale.  Yet it does not function harmonically as such.  Its M3 does not function as a leading tone, and it does not resolve to the {{f}}II chord.  Rather the M3 moves down a half-step to become the leading tone for the V chord or up a whole step to be the 5th of the V or v chord.  In 4-part writing, the M3 is doubled and each resolves in contrary directions to form the 3rd and 5th of the V chord, while the R and A6 move contrary to both become the root of the V.
-==== French ====
+==== French Sixth ====
 The '''French 6th''' (Fr+6 or Fr<sup>4</sup><sub>3</sub>) has the same notes as the Italian 6th, plus the M2 note above the key's tonic (m6 U M2 A4).  In C Major, that's (A{{f}} C D F{{s}}).
@@ Line 136: / Line 136: @@
 All these notes are found in the [[Exotic Scales#Whole Tone|whole tone scale]], giving it a somewhat atonal kind of feel; however, it still retains its sub-dominant harmonic function within the context of a progression.
-==== German ====
+==== German Sixth ====
 The '''German 6th''' (Gr+6 or Gr<sup>6</sup><sub>5</sub>) similarly takes the Italian and adds a note, but here the note is the m3 above the key's tonic note (m6 U m3 A4).  In C Major, that's (A{{f}} C E{{f}} F{{s}}).