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Music Theory - Diatonic Chord Progressions

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<span class="text">[[Guitar Parts and Functions|Parts]]</span>

<span class="text">[[Holding the Guitar and Pick|Playing]]</span>

== Diatonic Chords ==

<span class="text current">[[#Diatonic Chords|Diatonic Chords]]</span>

<span class="text">[[#Harmonic Functions|Harmonic Functions]]</span>

<span class="text">[[#Circle Progression|Circle Prog]]</span>

<span class="text">[[#Sample Progression|Sample]]</span>

<span class="text">[[#Bad Examples|Bad Ex.]]</span>

<span class="text">[[#Cadences|Cadences]]</span>

</div>

Chords are considered ''diatonic'' to a particular key if they only contain notes found inside that key. The major scale has 7 distinct notes, giving us 7 possible choices for the roots of diatonic chords. Using the 3rds and 5ths of each root that are also found inside the key gives each chord a particular quality. In a major key, there are 3 major, 3 minor, and 1 diminished diatonic chords.

Let's compare C Major to G Major, which has the exact same notes as C Major except an F{{sharp}} instead of F. Changing that one note (F -> F{{sharp}}) affects 3 of the chords. B{{dim}} becomes Bm, Dm becomes D, and F becomes F{{dim}}. Notice that G, Am, C, and Em are diatonic to both C Major and G Major.

== Harmonic Functions ==

<span class="text">[[#Diatonic Chords|Diatonic Chords]]</span>

<span class="text current">[[#Harmonic Functions|Harmonic Functions]]</span>

<span class="text">[[#Circle Progression|Circle Prog]]</span>

<span class="text">[[#Sample Progression|Sample]]</span>

<span class="text">[[#Bad Examples|Bad Ex.]]</span>

<span class="text">[[#Cadences|Cadences]]</span>

</div>

At the most basic level of abstraction, each diatonic chord has one of three functions: ''tonic'', ''pre-dominant'', or ''dominant''. The function of tonic chords is to establish tonality or resolve tension. Thus it is often the first and/or last chord in a song. Dominant functions to create tension that can be relieved by tonic chords. Pre-dominant chords serves to lead into dominant chords. Here is a table with all the diatonic chords and their function:

* We haven't entertained the idea that we can ignore the functions described above.

* We are only looking at harmony, without any context of melody or rhythm. Even with all the points above, a seemingly simple progression can undertone a wide range of actual songs. Check out the "4 chord song" by ''Axis of Awesome''.

== Circle Progression ==

<span class="text">[[#Diatonic Chords|Diatonic Chords]]</span>

<span class="text">[[#Harmonic Functions|Harmonic Functions]]</span>

<span class="text current">[[#Circle Progression|Circle Prog]]</span>

<span class="text">[[#Sample Progression|Sample]]</span>

<span class="text">[[#Bad Examples|Bad Ex.]]</span>

<span class="text">[[#Cadences|Cadences]]</span>

</div>

Another way to progress through chords is given to us by the circle of fifths. We haven't covered that yet, but we will soon. Essentially, it arranges notes in order of fifths, with each note being a perfect fifth higher than the previous note as we traverse the circle clockwise. Here's the notes from C{{flat}} to C{{sharp}} along the circle of fifths.

The circle progression gives us a basic roadmap of how to get from any chord to any other chord in the same key. Knowing harmonic function allows us to take "shortcuts" and jump some intermediate chords. For example, we know the harmonic function of IV is pre-dominant, so we can jump from IV to any dominant function chord. Let's choose V. That leaves us with I - IV ... - V - I. We're back to our basic I - IV - V - I example!

== Sample Progression ==

<span class="text">[[#Diatonic Chords|Diatonic Chords]]</span>

<span class="text">[[#Harmonic Functions|Harmonic Functions]]</span>

<span class="text">[[#Circle Progression|Circle Prog]]</span>

<span class="text current">[[#Sample Progression|Sample]]</span>

<span class="text">[[#Bad Examples|Bad Ex.]]</span>

<span class="text">[[#Cadences|Cadences]]</span>

</div>

Let's make up a song real quick. We will use the key of C Major (do we have a choice yet?) and want to start on the tonic. Let's add some rhythmic variety. We'll stay on the C Major chord for a full measure, which will help really establish the key of C Major. Then let's repeat the part of the circle progression again from iii to ii. We know that ii is a predominant function and iii can have a dominant (as well as tonic) function, so let's dwell on the ii for an extra beat, then go back to iii. From iii we circle progress again, but instead of stopping at ii, this time we'll keep going to V.

Play this nice and slow. You don't want to be jumping from chord to chord very quickly - it ruins the harmonic impact. Start at like 50 bpm. Most chord progressions dwell on each chord for a full measure. But without drums and a melody, that's a bit boring.

== Bad Examples ==

<span class="text">[[#Diatonic Chords|Diatonic Chords]]</span>

<span class="text">[[#Harmonic Functions|Harmonic Functions]]</span>

<span class="text">[[#Circle Progression|Circle Prog]]</span>

<span class="text">[[#Sample Progression|Sample]]</span>

<span class="text current">[[#Bad Examples|Bad Ex.]]</span>

<span class="text">[[#Cadences|Cadences]]</span>

</div>

Let's be bad and break the rules, just to see what happens...

Here, we are simply ascending the C Major scale, with each note used as the root of the next chord in the sequence: C Dm Em F G Am. ii has a predominant function, so it's no so bad that it leads into iii, but this implies the iii has a dominant function. The next chord is IV, the main pre-dominant chord. iii - IV might work if the iii has a tonic function, but in this case it doesn't; and the transition will sound awkward. IV - V is common and worry-free progression, but the following V - vi hurts the dominant functionality of the V. Even though vi can have tonic functionality, it is much less strong than the V - I, dominant - tonic resolution. Then we have vi - I. The vi likely serves a tonic functionality here, coming off the preceding V. This makes the vi - I progression weak and uneventful, probably the opposite of what is desired leading into the last chord of the piece.

== Cadences ==

<span class="text">[[#Diatonic Chords|Diatonic Chords]]</span>

<span class="text">[[#Harmonic Functions|Harmonic Functions]]</span>

<span class="text">[[#Circle Progression|Circle Prog]]</span>

<span class="text">[[#Sample Progression|Sample]]</span>

<span class="text">[[#Bad Examples|Bad Ex.]]</span>

<span class="text current">[[#Cadences|Cadences]]</span>

</div>

''Cadences'' are harmonic devices to create a sense of resolution for the end of a progression. There are several types, based on the chords involved, as well as their voicing.

=== Authentic Cadence ===

<span class="text current">[[#Authentic Cadence|Authentic]]</span>

<span class="text">[[#Half Cadence|Half]]</span>

<span class="text">[[#Plagal Cadence|Plagal]]</span>

<span class="text">[[#Interrupted/Deceptive Cadence|Deceptive]]</span>

</div>

An ''Authentic Cadence'' is a dominant-tonic progression. The dominant 7th can be used in place of the dominant triad. A ''perfect authentic cadence'' must use the V or V{{7}} chord as the dominant, have both chords in root position, and voice the tonic note in the tonic chord in the highest voice. An ''imperfect authentic cadence'' is similar, but breaks one or more of the above conditions. It may substitute the vii{{dim}} chord for the V.

=== Half Cadence ===

<span class="text">[[#Authentic Cadence|Authentic]]</span>

<span class="text current">[[#Half Cadence|Half]]</span>

<span class="text">[[#Plagal Cadence|Plagal]]</span>

<span class="text">[[#Interrupted/Deceptive Cadence|Deceptive]]</span>

</div>

A ''Half Cadence'' is a progression that moves from basically any chord to the V chord, leaving a sense of unresolved tension. The cadence is still designed to indicate the end of a phrase or musical idea, but it begs for continuation, either through a repetition or another idea.

=== Plagal Cadence ===

<span class="text">[[#Authentic Cadence|Authentic]]</span>

<span class="text">[[#Half Cadence|Half]]</span>

<span class="text current">[[#Plagal Cadence|Plagal]]</span>

<span class="text">[[#Interrupted/Deceptive Cadence|Deceptive]]</span>

</div>

A ''Plagal Cadence'' is a IV - I progression, also called the "Amen Cadence" because of its frequent use in church hymns. Because there is no leading tone to tonic movement, the cadence does not imply tonality. For instance a I-IV-I progression could also be interpreted as a V-I-V progression. In this way, it is a weak resolution, but a resolution to tonic, nonetheless.

=== Interrupted/Deceptive Cadence ===

<span class="text">[[#Authentic Cadence|Authentic]]</span>

<span class="text">[[#Half Cadence|Half]]</span>

<span class="text">[[#Plagal Cadence|Plagal]]</span>

<span class="text current">[[#Interrupted/Deceptive Cadence|Deceptive]]</span>

</div>

A V-vi or V-VI progression, commonly using V{{7}}. Creates a weak or suspended feeling, similar to the half cadence.

== Homework ==

<span class="text">[[Guitar Parts and Functions|Parts]]</span>

<span class="text">[[Holding the Guitar and Pick|Playing]]</span>

[[Category:Chords]]

[[Category:Open Position]]

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Music Theory - Diatonic Chord Progressions

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