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    Chord Scale Summation (Not All Possibilities But Most Common) Diatonic Scale Tensions

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    Eduardo Diez Vieira
    This document provides an overview of common chord-scale relationships and tensions. It lists the diatonic scales associated with each diatonic chord type, as well as secondary dominants, modal interchange chords, and extended and altered chords. Tensions are defined as notes a whole step above chord tones, while half steps above are avoid notes, except for dominant chords where both whole and half steps are acceptable tensions. Context and function determine the most effective chord-scale choice in any given situation.

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    Chord Scale Summation (Not All Possibilities But Most Common) Diatonic Scale Tensions

    Uploaded by

    Eduardo Diez Vieira
    281 views2 pages
    This document provides an overview of common chord-scale relationships and tensions. It lists the diatonic scales associated with each diatonic chord type, as well as secondary dominants, modal interchange chords, and extended and altered chords. Tensions are defined as notes a whole step above chord tones, while half steps above are avoid notes, except for dominant chords where both whole and half steps are acceptable tensions. Context and function determine the most effective chord-scale choice in any given situation.

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    chord scale table

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    This document provides an overview of common chord-scale relationships and tensions. It lists the diatonic scales associated with each diatonic chord type, as well as secondary dominants, modal interchange chords, and extended and altered chords. Tensions are defined as notes a whole step above chord tones, while half steps above are avoid notes, except for dominant chords where both whole and half steps are acceptable tensions. Context and function determine the most effective chord-scale choice in any given situation.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    281 views2 pages

    Chord Scale Summation (Not All Possibilities But Most Common) Diatonic Scale Tensions

    Uploaded by

    Eduardo Diez Vieira
    This document provides an overview of common chord-scale relationships and tensions. It lists the diatonic scales associated with each diatonic chord type, as well as secondary dominants, modal interchange chords, and extended and altered chords. Tensions are defined as notes a whole step above chord tones, while half steps above are avoid notes, except for dominant chords where both whole and half steps are acceptable tensions. Context and function determine the most effective chord-scale choice in any given situation.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    Chord Scale Summation (not all possibilities but most common)

     
     
    diatonic Scale tensions
    I Maj7   Ionian 9, 13
    II-7   Dorian 9,11
    III-7   Phrygian 11
    IV Maj7   Lydian 9, #11, 13
    V7   Mixolydian 9, 13
    VI-7   Aeolian 9,11
    VII-7b5   Locrian 11,b13
    sec. dom  
    V/II   Mixolydian b13 9,b13
    V/III   Mixolydian b9,#9,b13 b9,#9,b13
    V/IV   Mixolydian 9,13
    V/V   Mixolydian 9,13
    V/VI   Mixolydian b9,#9,b13 b9,#9,b13
    Modal Interchange  
    bII, bIII, bVI, Lydian 9, #11, 13
    bVII Maj7
    #IV-7b5, Locrian 11,b13
    II-7b5
    bVI7, IV7 Lydian b7 9, #11, 13
    bVII7 Lydian b7 9, #11, 13
    Mixolydian (in minor) 9,13
    I-7, IV-7,V-7 Dorian
    Extended dom
    diatonic root, cycle Mixolydian 9, 13
    5 root motion
    rel. II-7
    all (except dual Dorian 9,11
    function)
    Altered dom (ALT)
    all Altered scale b9,#9, #11 (or b5)b13
    1,b9,#9,3,b5,b13,b7
    (mode found on 7th
    degree of melodic
    minor)
    substitute sec. & ext. (resolution down a
    dom half step)
    all Lydian b7 9, #11, 13
     
    II-7b5 Scale   tensions  
    all Related II-vb5 Locrian 11,b13
    and
    #IV-7b5
    Tonic Minor chords    
    I-7 Dorian, aeolian or Depends on scale
    phrygian
    I-6   Dorian or melodic minor Depends on scale
    I-maj7   harmonic or melodic Depends on scale
    minor
    I7
    Tonic sounding I No dominant resolution 9,13
    Mixolydian #9,13
    “blues” (minor
    penatonic)
    Mixolydian #9
    IV7
    Sub dominant No dominant resolution Depends on scale
    Lydian b7
    Mixolydian
    “blues” (minor
    pentatonic)
       
       
       

    THINGS TO KEEP IN MIND:


    • Diatonic chords use diatonic scales.
    • GENENERAL STATEMENT:
    o On ALL Chords EXCEPT DOMININANT CHORDS:
    § Notes which are a WHOLE STEP ABOVE a chord tones are TENSIONS
    (except for 13 on II-7 which is labeled S6…avoided because it’s
    tritone creation with b3 can make it’s sound confused with it’s
    related V7 chord).
    § Notes a HALF STEP ABOVE a chord tone are HARMONIC AVOID NOTES.

    oON DOMINANT CHORDS tensions can be EITHER a whole OR a ½ step above


    a chord tone because these chords’ functions are enhanced by the
    greater dissonance created by ½ steps (exception: avoid S4 as it
    weakens domiant function).
    • Secondary dominants are RELATED to diatonic chords: their tensions are all
    diatonic pitches.
    • The scales for modal interchange chords come from whatever parallel mode
    they are “borrowed” from.
    There are more choices of scales for given chord types which are referred to as
    “optional” scales. CONTEXT AND FUNCTION MATTER when determining the most
    effective chord scale choice.

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