I am using fruity loops and have noticed there is a chords function that you can use for them easily but I often like to try and attempt my own. Not blowing how chords work or are used correctly and progressing them to sound good I know there are rules. I've seen charts on other threads. But for someone not knowledgeable of chords it makes no sense so if someone could explain it better an give examples I'd appreciate it. Right now I'm not using chords or progressions for beats because I find them useless and don't work!
Chords and progressions
- Thread starter randy7027
- Start date
bandcoach
Zukatoku - Mod Scientist
Constructing chords
a chord is a combination of notes, usually three notes.
there are two ways to approach building a chord:
Major scale chords
The first method works because we can use an extended scale to create the chord from:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ this covers 2 octaves (15 notes), mainly so that the method I show will work regardless of position in the scale
(I have not used the extensions numbers at this point as I am showing you how to build a triad - a three note chord)
Say I want to build a chord on the 1st note in the scale: I would do the following:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as I
that is, take the 1st note, skip a note, take the 3rd note, skip a note, take the 5th note: all chords are referred to as having a root, 3rd and 5th.
Now I want to build a chord on the 4th note of the scale, I do this:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as IV
take the 4th note, the 6th note and the 1st note higher up.
I can do this for every note in the scale:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as ii
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as iii
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as V
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as vi
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as vii[sup]b5[/sup]
Ok, let's make that concrete; in C major this would result in the following:
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ C major
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ D minor
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ E minor
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ F major
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ G major
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ A minor
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ B diminished
The names applied to each chord above are based on the internal structure of the chord - what semitone (black/white keys or guitar frets on the same string) distances there are between it's 1st note and its 3rd and its 5th - that is they describe the qualities of each chord using a well ordered and time-honoured set of internal relationships.
C-E is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the C to get to the E
D-F is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the D to get to the F
E-G is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the E to get to the G
F-A is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the F to get to the A
G-B is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the G to get to the B
A-C is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the A to get to the C
B-D is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the B to get to the D
C-G is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the C to get to the G
D-A is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the D to get to the A
E-B is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the E to get to the B
F-C is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the F to get to the C
G-D is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the G to get to the D
A-E is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the A to get to the E
B-F is a diminished 5th (a smaller 5th) because you need to move up 6 semitones from the B to get to the F
From the above we get the formula for each type of chord so far experienced
Major - major 3rd plus perfect 5th above the same root note
minor - minor 3rd plus perfect 5th above the same root note
diminished - minor 3rd plus diminished 5th above the same root note
Harmonic minor chords
Now we confront creating chords based in the harmonic minor scale (the chords based in the natural minor scale are exactly the same as those based in the major scale, but are numbered differently to show the scale relationships)
The harmonic minor scale contains 7 notes also, but we show their numbers so that we can see how the scale is different from the major scale starting on the same note (what is called the parallel major/minor scale)
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ this covers 2 octaves (15 notes), mainly so that the method I show will work regardless of position in the scale
(I have not used the extensions numbers at this point as I am showing you how to build a triad - a three note chord)
Say I want to build a chord on the 1st note in the scale: I would do the following:
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as i
that is, take the 1st note, skip a note, take the 3rd note, skip a note, take the 5th note: all chords are referred to as having a root, 3rd and 5th.
Now I want to build a chord on the 4th note of the scale, I do this:
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as iv
take the 4th note, the 6th note and the 1st note higher up.
I can do this for every note in the scale:
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as ii[sup]b5[/sup]
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as [sup]b[/sup]III[sup]#5[/sup]
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as V
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as [sup]b[/sup]VI
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as vii[sup]b5[/sup]
Ok, let's make that concrete; in C minor this would result in the following:
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ C minor
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ D diminished
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ E[sup]b[/sup] augmented
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ F minor
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ G major
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ A[sup]b[/sup] major
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ B diminished
The names applied to each chord above are based on the internal structure of the chord - what semitone (black/white keys or guitar frets on the same string) distances there are between it's 1st note and its 3rd and its 5th - that is they describe the qualities of each chord using a well ordered and time-honoured set of internal relationships.
C-E[sup]b[/sup] is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the C to get to the E[sup]b[/sup]
D-F is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the D to get to the F
E[sup]b[/sup]-G is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the E[sup]b[/sup] to get to the G
F-A[sup]b[/sup] is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the F to get to the A[sup]b[/sup]
G-B is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the G to get to the B
A[sup]b[/sup]-C is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the A[sup]b[/sup] to get to the C
B-D is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the B to get to the D
C-G is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the C to get to the G
D-A[sup]b[/sup] is a diminished 5th (a smaller 5th) because you need to move up 6 semitones from the D to get to the A[sup]b[/sup]
E[sup]b[/sup]-B is an augmented 5th (a larger 5th) because you need to move up 8 semitones from the E[sup]b[/sup] to get to the B
F-C is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the F to get to the C
G-D is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the G to get to the D
A[sup]b[/sup]-E[sup]b[/sup] is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the A[sup]b[/sup] to get to the E[sup]b[/sup]
B-F is a diminished 5th (a smaller 5th) because you need to move up 6 semitones from the B to get to the F
From the above we get the formula for each type of chord so far experienced
Major - major 3rd plus perfect 5th above the same root note
minor - minor 3rd plus perfect 5th above the same root note
diminished - minor 3rd plus diminished 5th above the same root note
Augmented - major 3rd plus an augmented 5th above the same root note
Some keyboard diagrams
The following poster shows the different triads based on naming note: they are independent of key at this stage
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
The following poster shows the major scale chords for every key from C[sup]b[/sup] to C[sup]#[/sup]
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
The following poster shows the natural minor scale chords for every key from C[sup]b[/sup] to C[sup]#[/sup]
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
The following poster shows the harmonic minor scale chords for every key from C[sup]b[/sup] to C[sup]#[/sup]
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
a chord is a combination of notes, usually three notes.
there are two ways to approach building a chord:
- build it based on its position in the scale
- build it based on a formula
Major scale chords
The first method works because we can use an extended scale to create the chord from:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ this covers 2 octaves (15 notes), mainly so that the method I show will work regardless of position in the scale
(I have not used the extensions numbers at this point as I am showing you how to build a triad - a three note chord)
Say I want to build a chord on the 1st note in the scale: I would do the following:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as I
that is, take the 1st note, skip a note, take the 3rd note, skip a note, take the 5th note: all chords are referred to as having a root, 3rd and 5th.
Now I want to build a chord on the 4th note of the scale, I do this:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as IV
take the 4th note, the 6th note and the 1st note higher up.
I can do this for every note in the scale:
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as ii
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as iii
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as V
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as vi
1-2-3-4-5-6-7-1-2-3-4-5-6-7-1 ~ we show this as vii[sup]b5[/sup]
Ok, let's make that concrete; in C major this would result in the following:
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ C major
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ D minor
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ E minor
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ F major
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ G major
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ A minor
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C ~ B diminished
The names applied to each chord above are based on the internal structure of the chord - what semitone (black/white keys or guitar frets on the same string) distances there are between it's 1st note and its 3rd and its 5th - that is they describe the qualities of each chord using a well ordered and time-honoured set of internal relationships.
C-E is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the C to get to the E
D-F is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the D to get to the F
E-G is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the E to get to the G
F-A is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the F to get to the A
G-B is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the G to get to the B
A-C is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the A to get to the C
B-D is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the B to get to the D
C-G is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the C to get to the G
D-A is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the D to get to the A
E-B is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the E to get to the B
F-C is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the F to get to the C
G-D is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the G to get to the D
A-E is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the A to get to the E
B-F is a diminished 5th (a smaller 5th) because you need to move up 6 semitones from the B to get to the F
From the above we get the formula for each type of chord so far experienced
Major - major 3rd plus perfect 5th above the same root note
minor - minor 3rd plus perfect 5th above the same root note
diminished - minor 3rd plus diminished 5th above the same root note
Harmonic minor chords
Now we confront creating chords based in the harmonic minor scale (the chords based in the natural minor scale are exactly the same as those based in the major scale, but are numbered differently to show the scale relationships)
The harmonic minor scale contains 7 notes also, but we show their numbers so that we can see how the scale is different from the major scale starting on the same note (what is called the parallel major/minor scale)
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ this covers 2 octaves (15 notes), mainly so that the method I show will work regardless of position in the scale
(I have not used the extensions numbers at this point as I am showing you how to build a triad - a three note chord)
Say I want to build a chord on the 1st note in the scale: I would do the following:
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as i
that is, take the 1st note, skip a note, take the 3rd note, skip a note, take the 5th note: all chords are referred to as having a root, 3rd and 5th.
Now I want to build a chord on the 4th note of the scale, I do this:
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as iv
take the 4th note, the 6th note and the 1st note higher up.
I can do this for every note in the scale:
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as ii[sup]b5[/sup]
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as [sup]b[/sup]III[sup]#5[/sup]
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as V
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as [sup]b[/sup]VI
1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1-2-[sup]b[/sup]3-4-5-[sup]b[/sup]6-7-1 ~ we show this as vii[sup]b5[/sup]
Ok, let's make that concrete; in C minor this would result in the following:
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ C minor
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ D diminished
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ E[sup]b[/sup] augmented
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ F minor
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ G major
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ A[sup]b[/sup] major
C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C-D-E[sup]b[/sup]-F-G-A[sup]b[/sup]-B-C ~ B diminished
The names applied to each chord above are based on the internal structure of the chord - what semitone (black/white keys or guitar frets on the same string) distances there are between it's 1st note and its 3rd and its 5th - that is they describe the qualities of each chord using a well ordered and time-honoured set of internal relationships.
C-E[sup]b[/sup] is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the C to get to the E[sup]b[/sup]
D-F is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the D to get to the F
E[sup]b[/sup]-G is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the E[sup]b[/sup] to get to the G
F-A[sup]b[/sup] is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the F to get to the A[sup]b[/sup]
G-B is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the G to get to the B
A[sup]b[/sup]-C is a major 3rd (a bigger 3rd) because you need to move up 4 semitones from the A[sup]b[/sup] to get to the C
B-D is a minor 3rd (a smaller 3rd) because you need to move up 3 semitones from the B to get to the D
C-G is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the C to get to the G
D-A[sup]b[/sup] is a diminished 5th (a smaller 5th) because you need to move up 6 semitones from the D to get to the A[sup]b[/sup]
E[sup]b[/sup]-B is an augmented 5th (a larger 5th) because you need to move up 8 semitones from the E[sup]b[/sup] to get to the B
F-C is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the F to get to the C
G-D is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the G to get to the D
A[sup]b[/sup]-E[sup]b[/sup] is a perfect 5th (a whole integer ratio to the root) because you need to move up 7 semitones from the A[sup]b[/sup] to get to the E[sup]b[/sup]
B-F is a diminished 5th (a smaller 5th) because you need to move up 6 semitones from the B to get to the F
From the above we get the formula for each type of chord so far experienced
Major - major 3rd plus perfect 5th above the same root note
minor - minor 3rd plus perfect 5th above the same root note
diminished - minor 3rd plus diminished 5th above the same root note
Augmented - major 3rd plus an augmented 5th above the same root note
Some keyboard diagrams
The following poster shows the different triads based on naming note: they are independent of key at this stage
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
The following poster shows the major scale chords for every key from C[sup]b[/sup] to C[sup]#[/sup]
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
The following poster shows the natural minor scale chords for every key from C[sup]b[/sup] to C[sup]#[/sup]
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
The following poster shows the harmonic minor scale chords for every key from C[sup]b[/sup] to C[sup]#[/sup]
right click the image to download the poster. Take it to your local copy shop to print it out at size and then laminate it and stick it above your keyboard for quick reference
bandcoach
Zukatoku - Mod Scientist
Chord progressions and sequences
Any movement from chord to chord can be classified as either a progression or a sequence.
The difference between the two is one of direction (progression) vs wandering (sequence). Some might say that it is about cadence (progression) vs motion (sequence).
Progressions, cadences and direction
The full force of a progression can be felt in its movement from the tonic chord via all of the other chords back to the tonic chord.
Such movement is known as the Cycle of 5ths.
Major cycle of 5ths
In the major we have the following succinct definition of the cycle of 5ths:
I-IV-vii[sup]b5[/sup]-iii-vi-ii-V-I
in C major this would be
C-F-Bm[sup]b5[/sup]-Em-Am-Dm-G-C
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
Bass movement would be 1-4-7-3-6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
I-ii[sup][sup]6[/sup][sub](3)[/sub][/sup]-V[sup][sup]6[/sup][sub](3)[/sub][/sup]-I[sup][sup]6[/sup][sub](3)[/sub][/sup]-IV[sup][sup]6[/sup][sub](3)[/sub][/sup]-vii[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-V-I
Would be one way to interpret this: in C major such a progression would be:
C-Dm[sub]/F[/sub]-G[sub]/B[/sub]-C[sub]/E[/sub]-F[sub]/A[/sub]-Bm[sup]b5[/sup][sub]/D[/sub]-G-C
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-alt.mp3[/mp3]
Minor cycle of 5ths
Harmonic Minor
In the harmonic minor we have the following succinct definition of the cycle of 5ths:
i-iv-vii[sup]b5[/sup]-[sup]b[/sup]III[sup]#5[/sup]-[sup]b[/sup]VI-ii[sup]b5[/sup]-V-i
in C harmonic minor this would be
Cm-Fm-Bm[sup]b5[/sup]-E[sup]b(#5)[/sup]-A[sup]b[/sup]-Dm[sup]b5[/sup]-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Harm-min.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
Bass movement would be 1-4-7-[sup]b[/sup]3-[sup]b[/sup]6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
i-ii[sup]b5[/sup][sup][sup]6[/sup][sub](3)[/sub][/sup]-V[sup][sup]6[/sup][sub](3)[/sub][/sup]-I[sup][sup]6[/sup][sub](3)[/sub][/sup]-iv[sup][sup]6[/sup][sub](3)[/sub][/sup]-vii[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-V-i
Would be one way to interpret this: in C major such a progression would be:
Cm-Dm[sup]b5[/sup][sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-Bm[sup]b5[/sup][sub]/D[/sub]-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Harm-min.mp3[/mp3]
Natural minor
In the natural minor we have the following succinct definition of the cycle of 5ths:
i-iv-[sup]b[/sup]VII-[sup]b[/sup]III-[sup]b[/sup]VI-ii[sup]b5[/sup]-v-i
in C natural minor this would be
Cm-Fm-B[sup]b[/sup]-E[sup]b[/sup]-A[sup]b[/sup]-Dm[sup]b5[/sup]-Gm-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Nat-min.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
Bass movement would be 1-4-[sup]b[/sup]7-[sup]b[/sup]3-[sup]b[/sup]6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
i-ii[sup][sup]6[/sup][sub](3)[/sub][/sup]-v[sup][sup]6[/sup][sub](3)[/sub][/sup]-i[sup][sup]6[/sup][sub](3)[/sub][/sup]-iv[sup][sup]6[/sup][sub](3)[/sub][/sup]-[sup]b[/sup]VII[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-v-i
Would be one way to interpret this: in C major such a progression would be:
Cm-Dm[sup]b5[/sup][sub]/F[/sub]-Gm[sub]/B[sup]b[/sup][/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-B[sup]b[/sup][sub]/D[/sub]-Gm-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Nat-min-alt.mp3[/mp3]
Melodic Minor
In the melodic minor we have the following succinct definition of the cycle of 5ths:
i-IV-vii[sup]b5[/sup]-[sup]b[/sup]III[sup]#5[/sup]-vi[sup]b5[/sup]-ii-V-I
in C melodic minor this would be
Cm-F-Bm[sup]b5[/sup]-E[sup]b(#5)[/sup]-Am[sup]b5[/sup]-Dm-G-C
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Mel-min.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
Bass movement would be 1-4-7-[sup]b[/sup]3-6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
i-ii[sup][sup]6[/sup][sub](3)[/sub][/sup]-V[sup][sup]6[/sup][sub](3)[/sub][/sup]-i[sup][sup]6[/sup][sub](3)[/sub][/sup]-IV[sup][sup]6[/sup][sub](3)[/sub][/sup]-vii[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-V-I
Would be one way to interpret this: in C melodic minor such a progression would be:
Cm-Dm[sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-F[sub]/A[/sub]-Bm[sup]b5[/sup][sub]/D[/sub]-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Mel-min-alt.mp3[/mp3]
Cadences
Cadences are the pulse of a progression. The name comes from the rise and fall of movement in speech and is used to identify degrees of finality of movement.
The summary of cadence formulas is as follows
Any movement from chord to chord can be classified as either a progression or a sequence.
The difference between the two is one of direction (progression) vs wandering (sequence). Some might say that it is about cadence (progression) vs motion (sequence).
Progressions, cadences and direction
The full force of a progression can be felt in its movement from the tonic chord via all of the other chords back to the tonic chord.
Such movement is known as the Cycle of 5ths.
Major cycle of 5ths
In the major we have the following succinct definition of the cycle of 5ths:
I-IV-vii[sup]b5[/sup]-iii-vi-ii-V-I
in C major this would be
C-F-Bm[sup]b5[/sup]-Em-Am-Dm-G-C
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
| Progression→ Scale tones in each triad↓ | I | IV | vii[sup]b5[/sup] | iii | vi | ii | V | I |
|---|---|---|---|---|---|---|---|---|
| 5th | 5 | 1 | 4 | 7 | 3 | 6 | 2 | 5 |
| 3rd | 3 | 6 | 2 | 5 | 1 | 4 | 7 | 3 |
| Root | 1 | 4 | 7 | 3 | 6 | 2 | 5 | 1 |
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
| Inversion→ Scale tones↓ | Root position | 1st [sup][sup]6[/sup][sub](3)[/sub][/sup] | 2nd [sup][sup]6[/sup][sub]4[/sub][/sup] |
|---|---|---|---|
| I | 1-3-5 | 3-5-1 | 5-1-3 |
| ii | 2-4-6 | 4-6-2 | 6-2-4 |
| iii | 3-5-7 | 5-7-3 | 7-3-5 |
| IV | 4-6-1 | 6-4-1 | 1-4-6 |
| V | 5-7-2 | 7-2-5 | 2-5-7 |
| vi | 6-1-3 | 1-3-6 | 3-6-1 |
| vii[sup]b5[/sup] | 7-2-4 | 2-4-7 | 4-7-2 |
Bass movement would be 1-4-7-3-6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
I-ii[sup][sup]6[/sup][sub](3)[/sub][/sup]-V[sup][sup]6[/sup][sub](3)[/sub][/sup]-I[sup][sup]6[/sup][sub](3)[/sub][/sup]-IV[sup][sup]6[/sup][sub](3)[/sub][/sup]-vii[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-V-I
Would be one way to interpret this: in C major such a progression would be:
C-Dm[sub]/F[/sub]-G[sub]/B[/sub]-C[sub]/E[/sub]-F[sub]/A[/sub]-Bm[sup]b5[/sup][sub]/D[/sub]-G-C
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-alt.mp3[/mp3]
Minor cycle of 5ths
Harmonic Minor
In the harmonic minor we have the following succinct definition of the cycle of 5ths:
i-iv-vii[sup]b5[/sup]-[sup]b[/sup]III[sup]#5[/sup]-[sup]b[/sup]VI-ii[sup]b5[/sup]-V-i
in C harmonic minor this would be
Cm-Fm-Bm[sup]b5[/sup]-E[sup]b(#5)[/sup]-A[sup]b[/sup]-Dm[sup]b5[/sup]-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Harm-min.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
| Progression→ Scale tones in each triad↓ | i | iv | vii[sup]b5[/sup] | [sup]b[/sup]III[sup]#5[/sup] | [sup]b[/sup]VI | ii[sup]b5[/sup] | V | i |
|---|---|---|---|---|---|---|---|---|
| 5th | 5 | 1 | 4 | 7 | [sup]b[/sup]3 | [sup]b[/sup]6 | 2 | 5 |
| 3rd | [sup]b[/sup]3 | [sup]b[/sup]6 | 2 | 5 | 1 | 4 | 7 | [sup]b[/sup]3 |
| Root | 1 | 4 | 7 | [sup]b[/sup]3 | [sup]b[/sup]6 | 2 | 5 | 1 |
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
| Inversion→ Scale tones↓ | Root position | 1st [sup][sup]6[/sup][sub](3)[/sub][/sup] | 2nd [sup][sup]6[/sup][sub]4[/sub][/sup] |
|---|---|---|---|
| i | 1-[sup]b[/sup]3-5 | [sup]b[/sup]3-5-1 | 5-1-[sup]b[/sup]3 |
| ii[sup]b5[/sup] | 2-4-[sup]b[/sup]6 | 4-[sup]b[/sup]6-2 | [sup]b[/sup]6-2-4 |
| [sup]b[/sup]III[sup]#5[/sup] | [sup]b[/sup]3-5-7 | 5-7-[sup]b[/sup]3 | 7-[sup]b[/sup]3-5 |
| iv | 4-[sup]b[/sup]6-1 | [sup]b[/sup]6-4-1 | 1-4-[sup]b[/sup]6 |
| V | 5-7-2 | 7-2-5 | 2-5-7 |
| [sup]b[/sup]VI | [sup]b[/sup]6-1-[sup]b[/sup]3 | 1-[sup]b[/sup]3-[sup]b[/sup]6 | [sup]b[/sup]3-[sup]b[/sup]6-1 |
| vii[sup]b5[/sup] | 7-2-4 | 2-4-7 | 4-7-2 |
Bass movement would be 1-4-7-[sup]b[/sup]3-[sup]b[/sup]6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
i-ii[sup]b5[/sup][sup][sup]6[/sup][sub](3)[/sub][/sup]-V[sup][sup]6[/sup][sub](3)[/sub][/sup]-I[sup][sup]6[/sup][sub](3)[/sub][/sup]-iv[sup][sup]6[/sup][sub](3)[/sub][/sup]-vii[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-V-i
Would be one way to interpret this: in C major such a progression would be:
Cm-Dm[sup]b5[/sup][sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-Bm[sup]b5[/sup][sub]/D[/sub]-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Harm-min.mp3[/mp3]
Natural minor
In the natural minor we have the following succinct definition of the cycle of 5ths:
i-iv-[sup]b[/sup]VII-[sup]b[/sup]III-[sup]b[/sup]VI-ii[sup]b5[/sup]-v-i
in C natural minor this would be
Cm-Fm-B[sup]b[/sup]-E[sup]b[/sup]-A[sup]b[/sup]-Dm[sup]b5[/sup]-Gm-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Nat-min.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
| Progression→ Scale tones in each triad↓ | i | iv | [sup]b[/sup]VII | [sup]b[/sup]III | [sup]b[/sup]VI | ii[sup]b5[/sup] | v | i |
|---|---|---|---|---|---|---|---|---|
| 5th | 5 | 1 | 4 | [sup]b[/sup]7 | [sup]b[/sup]3 | 6 | 2 | 5 |
| 3rd | [sup]b[/sup]3 | [sup]b[/sup]6 | 2 | 5 | 1 | 4 | [sup]b[/sup]7 | [sup]b[/sup]3 |
| Root | 1 | 4 | [sup]b[/sup]7 | [sup]b[/sup]3 | [sup]b[/sup]6 | 2 | 5 | 1 |
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
| Inversion→ Scale tones↓ | Root position | 1st [sup][sup]6[/sup][sub](3)[/sub][/sup] | 2nd [sup][sup]6[/sup][sub]4[/sub][/sup] |
|---|---|---|---|
| i | 1-[sup]b[/sup]3-5 | [sup]b[/sup]3-5-1 | 5-1-[sup]b[/sup]3 |
| ii[sup]b5[/sup] | 2-4-[sup]b[/sup]6 | 4-[sup]b[/sup]6-2 | [sup]b[/sup]6-2-4 |
| [sup]b[/sup]III | [sup]b[/sup]3-5-[sup]b[/sup]7 | 5-[sup]b[/sup]7-[sup]b[/sup]3 | [sup]b[/sup]7-[sup]b[/sup]3-5 |
| iv | 4-[sup]b[/sup]6-1 | [sup]b[/sup]6-4-1 | 1-4-[sup]b[/sup]6 |
| v | 5-[sup]b[/sup]7-2 | [sup]b[/sup]7-2-5 | 2-5-[sup]b[/sup]7 |
| [sup]b[/sup]VI | [sup]b[/sup]6-1-[sup]b[/sup]3 | 1-[sup]b[/sup]3-[sup]b[/sup]6 | [sup]b[/sup]3-[sup]b[/sup]6-1 |
| [sup]b[/sup]VII | [sup]b[/sup]7-2-4 | 2-4-[sup]b[/sup]7 | 4-[sup]b[/sup]7-2 |
Bass movement would be 1-4-[sup]b[/sup]7-[sup]b[/sup]3-[sup]b[/sup]6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
i-ii[sup][sup]6[/sup][sub](3)[/sub][/sup]-v[sup][sup]6[/sup][sub](3)[/sub][/sup]-i[sup][sup]6[/sup][sub](3)[/sub][/sup]-iv[sup][sup]6[/sup][sub](3)[/sub][/sup]-[sup]b[/sup]VII[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-v-i
Would be one way to interpret this: in C major such a progression would be:
Cm-Dm[sup]b5[/sup][sub]/F[/sub]-Gm[sub]/B[sup]b[/sup][/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-B[sup]b[/sup][sub]/D[/sub]-Gm-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Nat-min-alt.mp3[/mp3]
Melodic Minor
In the melodic minor we have the following succinct definition of the cycle of 5ths:
i-IV-vii[sup]b5[/sup]-[sup]b[/sup]III[sup]#5[/sup]-vi[sup]b5[/sup]-ii-V-I
in C melodic minor this would be
Cm-F-Bm[sup]b5[/sup]-E[sup]b(#5)[/sup]-Am[sup]b5[/sup]-Dm-G-C
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Mel-min.mp3[/mp3]
If we look closely at this we can see that each chord is a 5th away from the following chord - the root of each chords becomes the 5th of the following chord:
| Progression→ Scale tones in each triad↓ | i | IV | vii[sup]b5[/sup] | [sup]b[/sup]III[sup]#5[/sup] | vi[sup]b5[/sup] | ii | V | i |
|---|---|---|---|---|---|---|---|---|
| 5th | 5 | 1 | 4 | 7 | [sup]b[/sup]3 | 6 | 2 | 5 |
| 3rd | [sup]b[/sup]3 | 6 | 2 | 5 | 1 | 4 | 7 | [sup]b[/sup]3 |
| Root | 1 | 4 | 7 | [sup]b[/sup]3 | 6 | 2 | 5 | 1 |
As long as we choose any two chords that are adjacent in the cycle our progression can be said to have direction.
Using inversions in the progression
We could also just use the movement of the root to define our progression. This calls in to play the concept of inversions of chords:
| Inversion→ Scale tones↓ | Root position | 1st [sup][sup]6[/sup][sub](3)[/sub][/sup] | 2nd [sup][sup]6[/sup][sub]4[/sub][/sup] |
|---|---|---|---|
| i | 1-[sup]b[/sup]3-5 | [sup]b[/sup]3-5-1 | 5-1-[sup]b[/sup]3 |
| ii | 2-4-6 | 4-6-2 | 6-2-4 |
| [sup]b[/sup]III[sup]#5[/sup] | [sup]b[/sup]3-5-7 | 5-7-[sup]b[/sup]3 | 7-[sup]b[/sup]3-5 |
| IV | 4-6-1 | 6-4-1 | 1-4-6 |
| V | 5-7-2 | 7-2-5 | 2-5-7 |
| vi[sup]b5[/sup] | 6-1-[sup]b[/sup]3 | 1-[sup]b[/sup]3-6 | [sup]b[/sup]3-6-1 |
| vii[sup]b5[/sup] | 7-2-4 | 2-4-7 | 4-7-2 |
Bass movement would be 1-4-7-[sup]b[/sup]3-6-2-5-1 leading to several alternative chord progressions.
Each inverted chord can be placed in the progression where its root note equals the current bass note; e.g.
i-ii[sup][sup]6[/sup][sub](3)[/sub][/sup]-V[sup][sup]6[/sup][sub](3)[/sub][/sup]-i[sup][sup]6[/sup][sub](3)[/sub][/sup]-IV[sup][sup]6[/sup][sub](3)[/sub][/sup]-vii[sup]b5[sup]6[/sup][sub](3)[/sub][/sup]-V-I
Would be one way to interpret this: in C melodic minor such a progression would be:
Cm-Dm[sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-F[sub]/A[/sub]-Bm[sup]b5[/sup][sub]/D[/sub]-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Mel-min-alt.mp3[/mp3]
Cadences
Cadences are the pulse of a progression. The name comes from the rise and fall of movement in speech and is used to identify degrees of finality of movement.
The summary of cadence formulas is as follows
- Full-close or Perfect ~ V-I or V-i
G - C or G - Cminor
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Perfect.mp3[/mp3] - Imperfect ~ I-V or i-V
C - G or C minor - G
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Imperfect.mp3[/mp3] - Plagal ~ IV-I or iv-i
F - C or F minor - C minor
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Plagal.mp3[/mp3] - Deceptive ~ V-vi or V-VI
G - A minor or G - A[sup]b[/sup]
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Deceptive.mp3[/mp3] - Interrupted ~ V-IV or V-iv
G - F or G - F minor
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Interrupted-1.mp3[/mp3]
V-iii or V- [sup]b[/sup]III[sup]#5[/sup]
G - E minor or G - E[sup]b[/sup] Aug
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Interrupted-2.mp3[/mp3]
V-ii or V-ii[sup]b5[/sup]
G - D minor or G - D dim
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Interrupted-3.mp3[/mp3] - Half-close ~ ii-V or ii[sup]b5[/sup]-V
D minor - G or D dim - G
[mp3]http://www.bandcoach.org/fp/audio/cadenceC-Half-Close.mp3[/mp3] - Tierce de Picardie
In the minor only
V-I, i.e. go to the Tonic major instead of the Tonic minor
G - C in C minor
Last edited:
B Side Producer
Moderator
And bandcoach pwns again 
C
Cwbamwb
Guest
My best advice to put all the information above together is to just take a music theory class. It should cover all the chords and combinations that can possibly exist.
Pumpthrust
New member
Technically, BC's two posts pretty much covered my first and second semester of music theory. Don't know if BC covered secondary functions, pretty sure he's touched on chromaticism up there. Be thankful you don't have to deal with four-part writing, that was a nightmare. Strangely, if you have a decent grounding with basic theory and harmony (if you know how scales and triads are constructed), you'd be alright with the two above posts...........I would still suggest doing like you said and taking a course.
C
Cwbamwb
Guest
Oh they put us through everything in college, counterpoint and all. haha. they even made us learn all the major/minor/arpeggiated scales and triads on piano, and if we didn't, no degree. so I definitely feel your pain. lol
bandcoach
Zukatoku - Mod Scientist
And therein lies the conundrum facing me every time I post about a topic -what level of prior knowledge do I assume?
At one level it is scary that the above posts are a years worth of work in some programs ~ the mix of knowledge/information is equivalent to 7 years training in the Australian system of music examinations (the examinations add a few chords and functional ideas each year along side the demonstrated ability to play an instrument at a given level to allow for progression); but could be condensed into a years program if you were a theory or composition major
I have skipped secondary dominants so far in this discussion, and chromaticism has only reared it's head via considering the difference between the various chord building needs of the 3 forms of the minor: harmonic, natural and melodic (jazz minor).
I did contemplate linking to 4 pages showing each of the functional variations for each cycle of 5ths, but then decided that it would only serve to confuse rather than enlighten.
Similarly, I avoided discussing the potential for parallel substitutions; i.e. taking a chord from the natural minor and using it as a substitute for the same scale degree in the major: the two most obvious impacts being the introduction of [sup]b[/sup]III and [sup]b[/sup]VII to the already overburdened major scale cycle.
I am currently working on creating a "chord progression suggester" based on the above ideas with additional parameters such as the introduction of secondary dominants and tritone substitutions as well as constraint based progression i.e. applying a limit as to which chords can follow which. It is still very much in it's infancy being no more than a set of data structures and a rendering algorithm for any key.
I have also taken the opportunity to restructure the above posts so that they are indeed 3 separate yet linked presentations of information
Substitutions ~ Part I
Concept
In any of the four scale forms we have used chords built on the following scale degrees are considered equivalent, sharing two notes with any other similar chord:
| Scale degree | 1 | 2 | [sup]b[/sup]3 | 3 | 4 | 5 | [sup]b[/sup]6 | 6 | [sup]b[/sup]7 | 7 |
|---|---|---|---|---|---|---|---|
| Equivalent 1 | [sup]b[/sup]3 | 3 | 4 | 5 | [sup]b[/sup]6 | 6 | [sup]b[/sup]7 | 7 | 1 | 2 |
| Equivalent 2 | [sup]b[/sup]6 | 6 | [sup]b[/sup]7 | 7 | 1 | 2 | [sup]b[/sup]3 | 3 | 4 | 5 |
The above table uses both the flat and natural 3, 6 and 7 so that the concepts are applicable to all four of the scale forms we have considered so far.
Application
Major
| Scale degree | Identity chord | Equivalent 1 | [Equivalent 2 |
|---|---|---|---|
| 1 | I | vi | iii |
| 2 | ii | IV | vii[sup]b5[/sup] |
| 3 | iii | I | V |
| 4 | IV | ii | vi |
| 5 | V | iii | vii[sup]b5[/sup] |
| 6 | vi | IV | I |
| 7 | vii[sup]b5[/sup] | V | ii |
As noted above the major cycle of 5ths is
I-IV-vii[sup]b5[/sup]-iii-vi-ii-V-I
taking note of the possible alternative substitutions we can re-write this progression as
| Progression | I | - | IV | - | vii[sup]b5[/sup] | - | iii | - | vi | - | ii | - | V | - | I |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Alternative 1 | iii | - | vi | - | ii | - | V | - | I | - | IV | - | vii[sup]b5[/sup] | - | iii |
| Alternative 2 | vi | - | ii | - | V | - | I | - | IV | - | vii[sup]b5[/sup] | - | iii | - | vi |
Because of the nature of permutations, there are 6561 different possible substitution sequences for the I-IV-vii[sup]b5[/sup]-iii-vi-ii-V-I
progression.
Some permutations are
I-ii-V-I-IV-ii-vii[sup]b5[/sup]-I
I-IV-ii-V-I-IV-V-I
I-vi-ii-V-I-ii-V-I
I-vi-ii-V-vi-ii-V-I
in C major these would be
C-Dm-G-C-F-Dm-Bm[sup]b5[/sup]-C
C-F-Dm-G-C-F-G-C
C-Am-Dm-G-C-Dm-G-C
C-Am-Dm-G-Am-Dm-G-C
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-subs.mp3[/mp3]
If we were to then replace the indicated bass line with the orignal bass line (1-4-7-3-6-2-5-1) we would get the following progressions:
I-ii[sub]/4[/sub]-V[sub]/7[/sub]-I[sub]/3[/sub]-IV[sub]/6[/sub]-ii-vii[sup]b5[/sup][sub]/5[/sub]-I
I-IV-ii[sub]/7[/sub]-V[sub]/3[/sub]-I[sub]/6[/sub]-IV[sub]/2[/sub]-V-I
I-vi[sub]/4[/sub]-ii[sub]/7[/sub]-V[sub]/3[/sub]-I[sub]/6[/sub]-ii-V-I
I-vi[sub]/4[/sub]-ii[sub]/7[/sub]-V[sub]/3[/sub]-vi-ii-V-I
in C major these would be
C-Dm[sub]/F[/sub]-G[sub]/B[/sub]-C[sub]/E[/sub]-F[sub]/A[/sub]-Dm-Bm[sup]b5[/sup][sub]/G[/sub]-C
(C-Dm[sub]/F[/sub]-G[sub]/B[/sub]-C[sub]/E[/sub]-F[sub]/A[/sub]-Dm-G[sup]7[/sup]-C)
C-F-Dm[sub]/B[/sub]-G[sub]/E[/sub]-C[sub]/A[/sub]-F[sub]/D[/sub]-G-C
(C-F-Bm[sup]7b5[/sup]-Em[sup]7[/sup]-Am[sup]7[/sup]-Dm[sup]7[/sup]-G-C)
C-Am[sub]/F[/sub]-Dm[sub]/B[/sub]-G[sub]/E[/sub]-C[sub]/A[/sub]-Dm-G-C
(C-F[sup]maj7[/sup]-Bm[sup]7b5[/sup]-Em[sup]7[/sup]-Am[sup]7[/sup]-Dm-G-C)
C-Am[sub]/F[/sub]-Dm[sub]/B[/sub]-G[sub]/E[/sub]-Am-Dm-G-C
(C-F[sup]maj7[/sup]-Bm[sup]7b5[/sup]-Em[sup]7[/sup]-Am-Dm-G-C)
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-subs-alt.mp3[/mp3]
Harmonic minor
| Scale degree | Identity chord | Equivalent 1 | [Equivalent 2 |
|---|---|---|---|
| 1 | i | [sup]b[/sup]VI | [sup]b[/sup]III[sup]#5[/sup] |
| 2 | ii[sup]b5[/sup] | iv | vii[sup]b5[/sup] |
| [sup]b[/sup]3 | [sup]b[/sup]III[sup]#5[/sup] | i | V |
| 4 | iv | ii[sup]b5[/sup] | [sup]b[/sup]VI |
| 5 | V | [sup]b[/sup]III[sup]#5[/sup] | vii[sup]b5[/sup] |
| [sup]b[/sup]6 | [sup]b[/sup]VI | iv | i |
| 7 | vii[sup]b5[/sup] | V | ii[sup]b5[/sup] |
Because of the nature of permutations, there are 6561 different possible substitution sequences for the i-iv-vii[sup]b5[/sup]-[sup]b[/sup]III[sup]#5[/sup]-[sup]b[/sup]VI-ii[sup]b5[/sup]-V-i progression.
Some permutations are
i-ii[sup]b5[/sup]-V-i-iv-ii[sup]b5[/sup]-vii[sup]b5[/sup]-i
i-iv-ii[sup]b5[/sup]-V-i-iv-V-i
i-[sup]b[/sup]VI-ii[sup]b5[/sup]-V-i-ii[sup]b5[/sup]-V-i
i-[sup]b[/sup]VI-ii[sup]b5[/sup]-V-[sup]b[/sup]VI-ii[sup]b5[/sup]-V-i
in C harmonic minor these would be
Cm-Dm[sup]b5[/sup]-G-Cm-Fm-Dm[sup]b5[/sup]-Bm[sup]b5[/sup]-Cm
Cm-Fm-Dm[sup]b5[/sup]-G-Cm-Fm-G-Cm
Cm-A[sup]b[/sup]-Dm[sup]b5[/sup]-G-Cm-Dm[sup]b5[/sup]-G-Cm
Cm-A[sup]b[/sup]-Dm[sup]b5[/sup]-G-A[sup]b[/sup]-Dm[sup]b5[/sup]-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Harm-min-subs.mp3[/mp3]
If we were to then replace the indicated bass line with the original bass line (1-4-[sup]b[/sup]7-[sup]b[/sup]3-[sup]b[/sup]6-2-5-1) we would get the following progressions:
i-ii[sup]b5[/sup][sub]/4[/sub]-V[sub]/[sup]b[/sup]7[/sub]-i[sub]/[sup]b[/sup]3[/sub]-iv[sub][sup]b[/sup]6[/sub]-ii[sup]b5[/sup]-vii[sup]b5[/sup][sub]/5[/sub]-i
i-iv-ii[sup]b5[/sup][sub]/[sup]b[/sup]7[/sub]-V[sub]/[sup]b[/sup]3[/sub]-i[sub][sup]b[/sup]6[/sub]-iv[sub]2[/sub]-V-i
i-[sup]b[/sup]VI[sub]/4[/sub]-ii[sup]b5[/sup][sub]/[sup]b[/sup]7[/sub]-V[sub]/[sup]b[/sup]3[/sub]-i[sub][sup]b[/sup]6[/sub]-ii[sup]b5[/sup]-V-i
i-[sup]b[/sup]VI[sub]/4[/sub]-ii[sup]b5[/sup][sub]/[sup]b[/sup]7[/sub]-V[sub]/[sup]b[/sup]3[/sub]-[sup]b[/sup]VI-ii[sup]b5[/sup]-V-i
in C harmonic minor these would be
Cm-Dm[sup]b5[/sup][sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-Dm[sup]b5[/sup]-Bm[sup]b5[/sup][sub]/G[/sub]-Cm
(Cm-Dm[sup]b5[/sup][sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-Dm[sup]b5[/sup]-G[sup]7[/sup]-Cm)
Cm-Fm-Dm[sup]b5[/sup]sub]B[/sub]/-G[sub]/E[sup]b[/sup][/sub]-Cm[sub]/A[sup]b[/sup][/sub]-Fm[sub]/D[/sub]-G-Cm
(Cm-Fm-B[sup]o7[/sup]-E[sup]bmaj7#5[/sup]-A[sup]bmaj7[/sup]-Dm[sup]7b5[/sup]-G-Cm)
Cm-A[sup]b[/sup][sub]/F[/sub]-Dm[sup]b5[/sup][sub]/B[/sub]-G[sub]/E[sup]b[/sup][/sub]-Cm[sub]/A[sup]b[/sup][/sub]-Dm[sup]b5[/sup]-G-Cm
(Cm-Fm[sup]7[/sup]-B[sup]o7[/sup]-E[sup]bmaj7#5[/sup]-A[sup]bmaj7[/sup]-Dm[sup]b5[/sup]-G-Cm)
Cm-A[sup]b[/sup][sub]/F[/sub]-Dm[sup]b5[/sup][sub]/B[/sub]-G[sub]/E[sup]b[/sup][/sub]-A[sup]b[/sup]-Dm[sup]b5[/sup]-G-Cm
(Cm-Fm[sup]7[/sup]-B[sup]o7[/sup]-E[sup]bmaj7#5[/sup]-A[sup]b[/sup]-Dm[sup]b5[/sup]-G-Cm)
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Harm-min-subs-alt.mp3[/mp3]
Natural minor
| Scale degree | Identity chord | Equivalent 1 | [Equivalent 2 |
|---|---|---|---|
| 1 | i | [sup]b[/sup]VI | [sup]b[/sup]III |
| 2 | iib5 | iv | [sup]b[/sup]VII |
| [sup]b[/sup]3 | [sup]b[/sup]III[sup]#5[/sup] | i | v |
| 4 | iv | ii[sup]b5[/sup] | [sup]b[/sup]VI |
| 5 | v | [sup]b[/sup]III | [sup]b[/sup]VII |
| [sup]b[/sup]6 | [sup]b[/sup]VI | iv | i |
| [sup]b[/sup]7 | vii[sup]b5[/sup] | v | ii[sup]b5[/sup] |
Because of the nature of permutations, there are 6561 different possible substitution sequences for the i-iv-[sup]b[/sup]VII-[sup]b[/sup]III-[sup]b[/sup]VI-ii[sup]b5[/sup]-v-i progression.
Some permutations are
i-ii[sup]b5[/sup]-v-i-iv-ii[sup]b5[/sup]-[sup]b[/sup]VII-i
i-iv-ii[sup]b5[/sup]-v-i-iv-v-i
i-[sup]b[/sup]VI-ii[sup]b5[/sup]-v-i-ii[sup]b5[/sup]-v-i
i-[sup]b[/sup]VI-ii[sup]b5[/sup]-v-[sup]b[/sup]VI-ii[sup]b5[/sup]-v-i
in C natural minor these would be
Cm-Dm[sup]b5[/sup]-G-Cm-Fm-Dm[sup]b5[/sup]-B[sup]b[/sup]-Cm
Cm-Fm-Dm[sup]b5[/sup]-Gm-Cm-Fm-Gm-Cm
Cm-A[sup]b[/sup]-Dm[sup]b5[/sup]-Gm-Cm-Dm[sup]b5[/sup]-Gm-Cm
Cm-A[sup]b[/sup]-Dm[sup]b5[/sup]-Gm-A[sup]b[/sup]-Dm[sup]b5[/sup]-Gm-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Nat-min-subs.mp3[/mp3]
If we were to then replace the indicated bass line with the original bass line (1-4-[sup]b[/sup]7-[sup]b[/sup]3-[sup]b[/sup]6-2-5-1) we would get the following progressions:
i-ii[sup]b5[/sup][sub]/4[/sub]-v[sub]/[sup]b[/sup]7[/sub]-i[sub]/[sup]b[/sup]3[/sub]-iv[sub][sup]b[/sup]6[/sub]-ii[sup]b5[/sup]-[sup]b[/sup]VII[sub]/5[/sub]-i
i-iv-ii[sup]b5[/sup][sub]/[sup]b[/sup]7[/sub]-v[sub]/[sup]b[/sup]3[/sub]-i[sub][sup]b[/sup]6[/sub]-iv[sub]2[/sub]-v-i
i-[sup]b[/sup]VI[sub]/4[/sub]-ii[sup]b5[/sup][sub]/[sup]b[/sup]7[/sub]-v[sub]/[sup]b[/sup]3[/sub]-i[sub][sup]b[/sup]6[/sub]-ii[sup]b5[/sup]-v-i
i-[sup]b[/sup]VI[sub]/4[/sub]-ii[sup]b5[/sup][sub]/[sup]b[/sup]7[/sub]-v[sub]/[sup]b[/sup]3[/sub]-[sup]b[/sup]VI-ii[sup]b5[/sup]-v-i
in C natural minor these would be
Cm-Dm[sup]b5[/sup][sub]/F[/sub]-Gm[sub]/B[sup]b[/sup][/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-Dm[sup]b5[/sup]-B[sup]b[/sup][sub]/G[/sub]-Cm
(Cm-Dm[sup]b5[/sup][sub]/F[/sub]-Gm[sub]/B[sup]b[/sup][/sub]-Cm[sub]/E[sup]b[/sup][/sub]-Fm[sub]/A[sup]b[/sup][/sub]-Dm[sup]b5[/sup]-Gm[sup]7[/sup]-Cm)
Cm-Fm-Dm[sup]b5[/sup][sub]/B[sup]b[/sup][/sub]-Gm[sub]/E[sup]b[/sup][/sub]-Cm[sub]/A[sup]b[/sup][/sub]-Fm[sub]/D[/sub]-Gm-Cm
(Cm-Fm-B[sup]b7[/sup]-E[sup]bmaj7[/sup]-A[sup]bmaj7[/sup]-Dm[sup]7b5[/sup]-Gm-Cm)
Cm-A[sup]b[/sup][sub]/F[/sub]-Dm[sup]b5[/sup][sub]/B[sup]b[/sup][/sub]-Gm[sub]/E[sup]b[/sup][/sub]-Cm[sub]/A[sup]b[/sup][/sub]-Dm[sup]b5[/sup]-Gm-Cm
(Cm-Fm[sup]7[/sup]-B[sup]b7[/sup]-E[sup]bmaj7[/sup]-A[sup]bmaj7[/sup]-Dm[sup]b5[/sup]-Gm-Cm)
Cm-A[sup]b[/sup][sub]/F[/sub]-Dm[sup]b5[/sup][sub]/B[sup]b[/sup][/sub]-Gm[sub]/E[sup]b[/sup][/sub]-A[sup]b[/sup]-Dm[sup]b5[/sup]-Gm-Cm
(Cm-Fm[sup]7[/sup]-B[sup]b7[/sup]-E[sup]bmaj7[/sup]-A[sup]b[/sup]-Dm[sup]b5[/sup]-Gm-Cm)
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Nat-min-subs-alt.mp3[/mp3]
Melodic minor
| Scale degree | Identity chord | Equivalent 1 | [Equivalent 2 |
|---|---|---|---|
| 1 | i | vi[sup]b5[/sup] | [sup]b[/sup]III[sup]#5[/sup] |
| 2 | ii | IV | vii[sup]b5[/sup] |
| [sup]b[/sup]3 | [sup]b[/sup]III[sup]#5[/sup] | i | V |
| 4 | IV | ii | vi[sup]b5[/sup] |
| 5 | V | [sup]b[/sup]III[sup]#5[/sup] | vii[sup]b5[/sup] |
| 6 | vi[sup]b5[/sup] | IV | i |
| 7 | vii[sup]b5[/sup] | V | ii |
Because of the nature of permutations, there are 6561 different possible substitution sequences for the i-IV-vii[sup]b5[/sup]-[sup]b[/sup]III[sup]#5[/sup]-vi[sup]b5[/sup]-ii-V-I progression.
Some permutations are
i-ii-V-I-IV-ii-vii[sup]b5[/sup]-i
i-IV-ii-V-i-IV-V-i
i-vi[sup]b5[/sup]-ii-V-i-ii-V-i
i-vi[sup]b5[/sup]-ii-V-vi[sup]b5[/sup]-ii-V-i
in C melodic minor these would be
Cm-Dm-G-Cm-F-Dm-Bm[sup]b5[/sup]-Cm
Cm-F-Dm-G-Cm-F-G-Cm
Cm-Am[sup]b5[/sup]-Dm-G-Cm-Dm-G-Cm
Cm-Am[sup]b5[/sup]-Dm-G-Am[sup]b5[/sup]-Dm-G-Cm
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Mel-min-subs.mp3[/mp3]
If we were to then replace the indicated bass line with the original bass line (1-4-[sup]b[/sup]7-[sup]b[/sup]3-[sup]b[/sup]6-2-5-1) we would get the following progressions:
i-ii[sub]/4[/sub]-V[sub]/7[/sub]-i[sub]/[sup]b[/sup]3[/sub]-IV[sub]/6[/sub]-ii-vii[sup]b5[/sup][sub]/5[/sub]-i
i-IV-ii[sub]/7[/sub]-V[sub]/[sup]b[/sup]3[/sub]-i[sub]/6[/sub]-IV[sub]2[/sub]-V-i
i-vi[sup]b5[/sup][sub]/4[/sub]-ii[sub]/7[/sub]-V[sub]/[sup]b[/sup]3[/sub]-i[sub]/6[/sub]-ii[sup]b5[/sup]-V-i
i-vi[sup]b5[/sup][sub]/4[/sub]-ii[sub]/7[/sub]-V[sub]/[sup]b[/sup]3[/sub]-vi[sup]b5[/sup]-ii[sup]b5[/sup]-V-i
in C melodic minor these would be
Cm-Dm[sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-F[sub]/A[/sub]-Dm[sup]b5[/sup]-Bm[sup]b5[/sup][sub]/G[/sub]-Cm
(Cm-Dm[sub]/F[/sub]-G[sub]/B[/sub]-Cm[sub]/E[sup]b[/sup][/sub]-F[sub]/A[/sub]-Dm[sup]b5[/sup]-G[sup]7[/sup]-Cm)
Cm-Fm-Dm[sub]/B[/sub]/-G[sub]/E[sup]b[/sup][/sub]-Cm[sub]/A[/sub]-F[sub]/D[/sub]-G-Cm
(Cm-Fm-Bm[sup]7b5[/sup]-E[sup]bmaj7#5[/sup]-Am[sup]7b5[/sup]-Dm[sup]7[/sup]-G-Cm)
Cm-A[sub]/F[/sub]-Dm[sub]/B[/sub]-G[sub]/E[sup]b[/sup][/sub]-Cm[sub]/A[/sub]-Dm[sup]b5[/sup]-G-Cm
(Cm-F[sup]7[/sup]-B,[sup]7b5[/sup]-E[sup]bmaj7#5[/sup]-Am[sup]7b5[/sup]-Dm[sup]b5[/sup]-G-Cm)
Cm-A[sub]/F[/sub]-Dm[sub]/B[/sub]-G[sub]/E[sup]b[/sup][/sub]-Am[sup]b5[/sup]-Dm[sup]b5[/sup]-G-Cm
(Cm-F[sup]7[/sup]-Bm[sup]7b5[/sup]-E[sup]bmaj7#5[/sup]-Am[sup]b5[/sup]-Dm[sup]b5[/sup]-G-Cm)
[mp3]http://www.bandcoach.org/fp/audio/cycleProgression-C-Mel-min-subs-alt.mp3[/mp3]
Last edited:
C
Cwbamwb
Guest
I was just getting ready to say that what you laid out takes years to really learn and process. lol
bandcoach
Zukatoku - Mod Scientist
Substitutions ~ Part II
Secondary dominants
Concept
A dominant 7th chord is a chord built on the 5th degree of the scale (the dominant). The construction is 1-3-5-[sup]b[/sup]7 in abstract terms (building from a given root note) and 5-7-2-4 in terms of a major scale starting a 5th below the root of the chord. The purpose of a secondary dominant is to make the root tone of the following chord a temporary tonic, i.e. the tonic (scale degree 1) of a given key.
Most triads, with the exception of chords V, IV, iv and [sup]b[/sup]VI, can be substituted by their dominant 7th equivalent.
We cannot substitute chord V for chord V - they are the same chord. Even if the substitution is V[sup]7[/sup] for V, the same function is performed by both chords in a progression and so no substitution has taken place.
We cannot build a dominant 7th that resolves to a diminished triad i.e. V[sup]7[/sup]/vii[sup]b5[/sup] (substituting for both IV and iv) and V[sup]7[/sup]/ii[sup]b5[/sup] (substituting for [sup]b[/sup]VI). This is because with the exception of the Locrian mode, there is no key that has a diminished triad as its tonic triad.
There are two methods for indicating a secondary dominant chord:
The first is usually found in texts where the layout can be well-controlled (I have used a larger font size to make this work here) and not confused with either polychords (C/G) or chords with an alternative bass note C[sub]/E[/sub].
The second format is my preferred method for bulletin board style formatting, as the use of superscripts and subscripts are inconsistent across implementations of the various Bulletin Board based systems.
Major
In the major, we define the chords built above the 1st, 4th and 5th degrees as primary triads: these are all major triads. The chords built above ii, iii and vi are defined as secondary triads; these are all minor triads. The chord built above the 7th degree is a diminished triad and is treated as an incomplete dominant 7th (i.e. V[sup]7[/sup] but no root tone).
Harmonic minor
In the harmonic minor these roles are inverted. The chords built above the 1st, 4th and 5th degrees of the scale are still the primary triads. However, chords i and iv are minor triads, whilst chord V is a major triad. The chords built above the 3rd and 6th scale degrees are the secondary triads; the chord built on [sup]b[/sup]3 is an augmented triad and that built on [sup]b[/sup]6 is a major triad. The chords built above the 2nd and 7th scale degrees are diminished triads, with similar function to that of the diminished triad described for the major.
Application
Major
Note: the V7 chord spelling has been included to complete the various dominant 7ths available in a given major key
As can be seen, these substitutions change existing scale tones so that the dominant 7th construction pattern (1-3-5-[sup]b[/sup]7)can be fulfilled.
Examples
Going back to our cycle of 5ths progression,
I - IV - vii[sup]b5[/sup] - iii - vi - ii - V - I
There are 64 possible permutations (no substitute for chord IV or the final chord I) with secondary dominant substitutions, this is one possible substitution:
V[sup]7[/sup]-of-IV - IV - V[sup]7[/sup]-of-iii - V[sup]7[/sup]-of-vi - V[sup]7[/sup]-of-ii - V[sup]7[/sup]-of-V - V[sup]7[/sup] - I
in C major this would be:
C[sup]7[/sup] - F - B[sup]7[/sup] - E[sup]7[/sup] - A[sup]7[/sup] - D[sup]7[/sup] - G[sup]7[/sup] - C
[mp3]http://www.bandcoach.org/fp/audio/secDomSubs-01.mp3[/mp3]
Harmonic minor
Note: the V7 chord spelling has been included to complete the various dominant 7ths available in a given harmonic minor key
As can be seen, these substitutions change existing scale tones so that the dominant 7th construction pattern (1-3-5-[sup]b[/sup]7) can be fulfilled. Of particular note is the changing of scale tone 7 (B) to scale tone [sup]b[/sup]7 (B[sup]b[/sup]), ensuring that the secondary dominant is a perfect 5th away from the following chord, rather than a scale tone 4th (it would be an augmented 5th in this case, being spelt B-D[sup]#[/sup]-F[sup]#[/sup]-A resolving to E[sup]b[/sup]-G-B (E[sup]b[/sup]=D[sup]#[/sup]), the A is resolving to either the G or the B in the second chord).
Examples
Going back to our cycle of 5ths progression,
i - iv - vii[sup]b5[/sup] - [sup]b[/sup]III[sup]#5[/sup] - [sup]b[/sup]VI - ii[sup]b5[/sup] - V - I
There are 32 possible permutations (no substitute for chord IV, [sup]b[/sup]VI or the final chord I) with secondary dominant substitutions, this is one possible substitution:
i - iv - V[sup]7[/sup]-of-bIII[sup]#5[/sup] - V[sup]7[/sup]-of-[sup]b[/sup]VI - [sup]b[/sup]VI - ii[sup]b5[/sup]- V[sup]7[/sup] - I
in C major this would be:
Cm - Fm - B[sup]b7[/sup] - E[sup]b7[/sup] - A[sup]b7[/sup] - Dm[sup]b5[/sup] - G[sup]7[/sup] - C
[mp3]http://www.bandcoach.org/fp/audio/secDomSubs-02.mp3[/mp3]
Secondary dominants
Concept
A dominant 7th chord is a chord built on the 5th degree of the scale (the dominant). The construction is 1-3-5-[sup]b[/sup]7 in abstract terms (building from a given root note) and 5-7-2-4 in terms of a major scale starting a 5th below the root of the chord. The purpose of a secondary dominant is to make the root tone of the following chord a temporary tonic, i.e. the tonic (scale degree 1) of a given key.
Most triads, with the exception of chords V, IV, iv and [sup]b[/sup]VI, can be substituted by their dominant 7th equivalent.
We cannot substitute chord V for chord V - they are the same chord. Even if the substitution is V[sup]7[/sup] for V, the same function is performed by both chords in a progression and so no substitution has taken place.
We cannot build a dominant 7th that resolves to a diminished triad i.e. V[sup]7[/sup]/vii[sup]b5[/sup] (substituting for both IV and iv) and V[sup]7[/sup]/ii[sup]b5[/sup] (substituting for [sup]b[/sup]VI). This is because with the exception of the Locrian mode, there is no key that has a diminished triad as its tonic triad.
There are two methods for indicating a secondary dominant chord:
- V[sup]7[/sup]/N,
- V[sup]7[/sup]-of-N,
The first is usually found in texts where the layout can be well-controlled (I have used a larger font size to make this work here) and not confused with either polychords (C/G) or chords with an alternative bass note C[sub]/E[/sub].
The second format is my preferred method for bulletin board style formatting, as the use of superscripts and subscripts are inconsistent across implementations of the various Bulletin Board based systems.
Major
In the major, we define the chords built above the 1st, 4th and 5th degrees as primary triads: these are all major triads. The chords built above ii, iii and vi are defined as secondary triads; these are all minor triads. The chord built above the 7th degree is a diminished triad and is treated as an incomplete dominant 7th (i.e. V[sup]7[/sup] but no root tone).
Harmonic minor
In the harmonic minor these roles are inverted. The chords built above the 1st, 4th and 5th degrees of the scale are still the primary triads. However, chords i and iv are minor triads, whilst chord V is a major triad. The chords built above the 3rd and 6th scale degrees are the secondary triads; the chord built on [sup]b[/sup]3 is an augmented triad and that built on [sup]b[/sup]6 is a major triad. The chords built above the 2nd and 7th scale degrees are diminished triads, with similar function to that of the diminished triad described for the major.
Application
Major
| Scale degree | Scale tone triad | Secondary dominant form | Scale tones used | Example in C major |
|---|---|---|---|---|
| 1 | I | V[sup]7[/sup]-of-IV | 1-3-5-[sup]b[/sup]7 | C-E-G-B[sup]b[/sup] |
| 2 | ii | V[sup]7[/sup]-of-V | 2-[sup]#[/sup]4-6-1 | D-F[sup]#[/sup]-A-C |
| 3 | iii | V[sup]7[/sup]-of-vi | 3-[sup]#[/sup]5-7-2 | E-G[sup]#[/sup]-B-D |
| 4 | IV | - | - | |
| 5 | V | - | 5-7-2-4 | G-B-D-F |
| 6 | vi | V[sup]7[/sup]-of-ii | 6-[sup]#[/sup]1-3-5 | A-C[sup]#[/sup]-E-G |
| 7 | vii[sup]b5[/sup] | V[sup]7[/sup]-of-iii | 7-[sup]#[/sup]2-[sup]#[/sup]4-6 | B-D[sup]#[/sup]-F[sup]#[/sup]-A |
As can be seen, these substitutions change existing scale tones so that the dominant 7th construction pattern (1-3-5-[sup]b[/sup]7)can be fulfilled.
Examples
Going back to our cycle of 5ths progression,
I - IV - vii[sup]b5[/sup] - iii - vi - ii - V - I
There are 64 possible permutations (no substitute for chord IV or the final chord I) with secondary dominant substitutions, this is one possible substitution:
V[sup]7[/sup]-of-IV - IV - V[sup]7[/sup]-of-iii - V[sup]7[/sup]-of-vi - V[sup]7[/sup]-of-ii - V[sup]7[/sup]-of-V - V[sup]7[/sup] - I
in C major this would be:
C[sup]7[/sup] - F - B[sup]7[/sup] - E[sup]7[/sup] - A[sup]7[/sup] - D[sup]7[/sup] - G[sup]7[/sup] - C
[mp3]http://www.bandcoach.org/fp/audio/secDomSubs-01.mp3[/mp3]
Harmonic minor
| Scale degree | Scale tone triad | Secondary dominant form | Scale tones used | Example in C harmonic minor |
|---|---|---|---|---|
| 1 | i | V[sup]7[/sup]-of-iv | 1-3-5-[sup]b[/sup]7 | C-E-G-B[sup]b[/sup] |
| 2 | ii[sup]b5[/sup] | V[sup]7[/sup]-of-V | 2-[sup]#[/sup]4-6-1 | D-F[sup]#[/sup]-A-C |
| [sup]b[/sup]3 | [sup]b[/sup]III[sup]#5[/sup] | V[sup]7[/sup]-of-[sup]b[/sup]VI | [sup]b[/sup]3-5-[sup]b[/sup]7-[sup]b[/sup]2 | E[sup]b[/sup]-G-B[sup]b[/sup]-D[sup]b[/sup] |
| 4 | iv | - | - | - |
| 5 | V | - | 5-7-2-4 | G-B-D-F |
| [sup]b[/sup]6 | - | - | - | - |
| 7 | vii[sup]b5[/sup] | V[sup]7[/sup]-of-[sup]b[/sup]III[sup]#5[/sup] | [sup][/sup][sup]b[/sup]7-2-4-[sup]b[/sup]6 | B[sup]b[/sup]-D-F-A[sup]b[/sup] |
As can be seen, these substitutions change existing scale tones so that the dominant 7th construction pattern (1-3-5-[sup]b[/sup]7) can be fulfilled. Of particular note is the changing of scale tone 7 (B) to scale tone [sup]b[/sup]7 (B[sup]b[/sup]), ensuring that the secondary dominant is a perfect 5th away from the following chord, rather than a scale tone 4th (it would be an augmented 5th in this case, being spelt B-D[sup]#[/sup]-F[sup]#[/sup]-A resolving to E[sup]b[/sup]-G-B (E[sup]b[/sup]=D[sup]#[/sup]), the A is resolving to either the G or the B in the second chord).
Examples
Going back to our cycle of 5ths progression,
i - iv - vii[sup]b5[/sup] - [sup]b[/sup]III[sup]#5[/sup] - [sup]b[/sup]VI - ii[sup]b5[/sup] - V - I
There are 32 possible permutations (no substitute for chord IV, [sup]b[/sup]VI or the final chord I) with secondary dominant substitutions, this is one possible substitution:
i - iv - V[sup]7[/sup]-of-bIII[sup]#5[/sup] - V[sup]7[/sup]-of-[sup]b[/sup]VI - [sup]b[/sup]VI - ii[sup]b5[/sup]- V[sup]7[/sup] - I
in C major this would be:
Cm - Fm - B[sup]b7[/sup] - E[sup]b7[/sup] - A[sup]b7[/sup] - Dm[sup]b5[/sup] - G[sup]7[/sup] - C
[mp3]http://www.bandcoach.org/fp/audio/secDomSubs-02.mp3[/mp3]
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Desire Inspires
New member
You guys made the OP run away by posting music theory.
LMAO!
LMAO!
bandcoach
Zukatoku - Mod Scientist
the problem is that there are an infinite number of progressions as you can use substitutes at any point to extend the progression further and further.
As for a list of potential progressions, see these two tutorials
Band Coach ~ Common Chord Progressions: Major
Band Coach ~ Common Chord Progressions: Minor
as a starting point
As for a list of potential progressions, see these two tutorials
Band Coach ~ Common Chord Progressions: Major
Band Coach ~ Common Chord Progressions: Minor
as a starting point
JMFLYproductions
New member
holy jeeezzus.... holy jeeezus.... pwnd was a understatement... lol
Pumpthrust
New member
Learn your Nashville numbering sytem and do the work yourself. Its not hard.
Chords and the Numbering System
RickyRumbleton
New member
The question you've asked requires an answer that supposes a knowledge of more fundamental aspects of music theory.
Do yourself a massive favour and block out a 6 hr period to watch the first 12-20 videos of this guy on YouTube.
Im new so I cant post links but just Google the phrase below:
#1 LEARN FREE MUSIC THEORY Lypur
He is (was) a young Canadian fella studying and teaching music and he's posted perhaps some of the best intros to music theory on the net. It's very good material. He's kinda nerdy but a nice guy with lots of knowledge and talent. The video series progresses at an excellent pace.
If you don't take the time to learn some basic fundamentals then you'll be forever stuck in some horrid point and click mode of making "sounds".
I would recommend this guys videos INSTEAD of paying for basic music lessons and would certainly watch the material prior to any class I was paying for in order to maximise your dollar spend on any tuition. You could easily substitute these videos for a couple of $1000 worth of introductory music lessons.
Do yourself a massive favour and block out a 6 hr period to watch the first 12-20 videos of this guy on YouTube.
Im new so I cant post links but just Google the phrase below:
#1 LEARN FREE MUSIC THEORY Lypur
He is (was) a young Canadian fella studying and teaching music and he's posted perhaps some of the best intros to music theory on the net. It's very good material. He's kinda nerdy but a nice guy with lots of knowledge and talent. The video series progresses at an excellent pace.
If you don't take the time to learn some basic fundamentals then you'll be forever stuck in some horrid point and click mode of making "sounds".
I would recommend this guys videos INSTEAD of paying for basic music lessons and would certainly watch the material prior to any class I was paying for in order to maximise your dollar spend on any tuition. You could easily substitute these videos for a couple of $1000 worth of introductory music lessons.
Last edited:
I
iBeatz13
Guest
Good post. Thanks!