Difference between revisions of "Non-Diatonic Chords"
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The non-inverted Neapolitan chord can easily be used to modulate to a major key a half step below the current key by using the original key's I chord as the destination key's N chord. | The non-inverted Neapolitan chord can easily be used to modulate to a major key a half step below the current key by using the original key's I chord as the destination key's N chord. | ||
| − | C F C | + | C F C G{{f}} C{{f}} |
C: I IV I | C: I IV I | ||
| − | C{{f}}: | + | C{{f}}: N V I |
=== Chromatic Mediants === | === Chromatic Mediants === | ||
Revision as of 17:06, 11 June 2014
Strict diatonic note and chord selection provides a gigantic amount of possibility for song-writing and solo'ing; however, it still places us inside a box that we occasionally want to escape. Non-diatonic chords allow us to do so. For any key, the possibilities for non-diatonic chords are huge. We limit ourselves to a few popular examples listed below. These fall under one of a few categories.
- Tonicizations use diatonic chords from other keys to temporarily alter the tonic center of the harmony.
- Borrowed chords use diatonic chords from other keys with the same tonic note.
- Chromatic chords cover all remaining cases. They maintain the tonic note but are non-diatonic to all the standard parallel keys/modes. They borrow from the chromatic scale, which allows any possible chord to be formed.
Contents
PreReqs
- Music Theory Basics
- Music Theory - Diatonic Chord Progressions
- Music Theory - Minor Keys
- Harmonic Minor and Augmented Chords
- Circle of Fifths
- 7th Chords
Tonicizations
Secondary Dominant
also called borrowed dominant
The most common borrowed chord is the V (or V7) of V chord, commonly notated as V/V or V7/V.
Other Secondary Harmonies
Notation
The "/" indicates that the chord is borrowed. The bottom or right side of the slash is the key that is being borrowed from. 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.
Function
It is essentially a dominant function chord whose function is to resolve to the dominant chord of the current key. That chord then resolves to the I or i chord. V/V - V - I.
Example
In C Major, the progression would be D - G - C. D is borrowed, as Dm is the diatonic chord. The raised F# that makes it a major chord also gives it the dominant function to resolve a half step to G, as part of the G chord.
If the D Major chord did not resolve to G Major, demonstrating its dominant functionality, we might alternatively analyze this as a II or borrowed major from some other key.
In the key of G Major, V/V would be an A Major chord. Let's look at both keys:
| V/V | V | I | |
|---|---|---|---|
| C Major | D | G | C |
| G Major | A | D | G |
Notice that both progressions feature D - G. In G Major, it's V - I. In C Major, it's V/V - V. G Major is built on the fifth note of C Major; it is the V key. In both progressions they contain the same basic dominant-resolution feel, yet by occurring at different parts of the V/V - V - I progression, they serve somewhat different functions.
Difference from Modulation
The only real difference between a modulation and a tonicization is length. A tonicization may last a single chord or measure, very briefly changing the tonic note, and usually for the purpose of further creating and resolving tension against the original tonic note. A modulation lasts longer (although it may be as brief as about 2 measures) and often creates and resolves tension in the new key numerous times before, if ever, returning to the original key.
Borrowed Chords
Chords can also be borrowed from the parallel major/minor of the current key.
Borrowing from Minor
When using a major key, chords can be borrowed from either the parallel natural or harmonic minor keys:
| iio | bIII | iv | bVI | bVII | viio7 | |
|---|---|---|---|---|---|---|
| C Major | D dim | Eb | Fm | Ab | Bb | Bo7 |
| G Major | A dim | Bb | Dm | Eb | Fb | Fo7 |
| Borrowed From |
Nat/ Hrm |
Nat | Nat/ Hrm |
Nat/ Hrm |
Nat | Hrm |
Picardy Third
The term Picardy Third refers to using the I (major) chord instead of i (minor) in a minor key (or mode with a minor tonic chord). As such it briefly borrows the consonance and resolution that the I chord creates, without actually modulating into a major key. It is used in place of the i chord on resolving cadences, not in passing i chords in the middle or beginning of a progression.
Natural Minor: Am Dm Em A i iv v I
Harmonic Minor: Am Dm E A i iv V I
Chromatic Chords
Augmented Sixth Chords
Italian
German
French
Neapolitan Chord
A Neapolitan Chord is a major chord using the m2 of the scale as its root (♭II). It is typically voiced in first inversion, creating a 6th interval between the bass note (3rd) and high note (root) in its triad formulation. Thus, it is often called the Neapolitan 6th, notated as ♭II6 or N6.
Harmonically, it functions as a sub-dominant and can be substituted for ii or IV (or iv in a minor key).
In C Major, D♭ is the Neapolitan chord. In first inversion, it is spelled (F A♭ D♭). F is (F A C). Thus, the Neapolitan 6th features the same notes as the IV chord, but the 3rd (A) is lowered a half step, while the 5th (C) is raised a half-step. In C Minor, the iv chord is (F A♭ C), differing from the N6 by just 1 half step and lies similarly close to the ii° chord (D F A♭), another sub-dominant functioning chord.
D♭ 1st Inv. (N6 of C Major/Minor) ||i|-|-|-| ||)|m|-|-| ||i|-|-|-| ||)|-|r|-| ||)|-|-|p| ||i|-|-|-|
C D♭/F G C I N6 V I
B♭ 1st Inv. (N6 of C Major/Minor) ||i|-|-|-| ||-|-|r|-| ||-|-|m|-| ||-|-|-|-| ||-|-|-|p| ||-|-|-|-|
Am B♭/D Em Am i N6 v i
Other Uses
The non-inverted Neapolitan chord can easily be used to modulate to a major key a half step below the current key by using the original key's I chord as the destination key's N chord.
C F C G♭ C♭ C: I IV I C♭: N V I