harmony-and-chords category

Added tone chords expand the basic triad by adding color tones—usually the 2nd (9th), 4th (11th), or 6th (13th)—without including a 7th. more

Altered chords are dominant chords that include one or more altered extensions — notes raised or lowered by a semitone to intensify tension and... more

Italian, French, German forms resolving to V via 4–♭6 outer voices. more

Root–major third–augmented fifth; symmetrical brightness with tendency to resolve. more

IVm7–bVII7→I (or bVIImaj7→I) as a softer resolution to tonic. more

Use modal-borrowed functions (e.g., iv→I) for alternative cadences. more

V(7)→I (PAC/IAC). Strong sense of closure; perfect when soprano ends on scale degree 1. more

V→vi (or other unexpected); defers closure for contrast or extension. more

I 6–4 over V as a dominant expansion resolving to V then I. more

Matching scales to chords to guide tension/avoid notes in improvisation/arranging. more

Third-related major/minor chords with chromatic alteration but shared tones. more

Sustain a single tone to pivot into new key center. more

Root–minor third–diminished fifth; tense, unstable; often functions as leading-tone. more

Major triad + minor seventh; contains tritone driving resolution to tonic. more

Open voicings created by dropping 2nd/3rd highest chord tone by an octave. more

Seventh chords with added tensions 9, 11, 13; color tones requiring careful voice-leading. more

Diminished triad + diminished seventh; symmetrical, strong leading tendencies. more

Diminished triad + minor seventh; functions as leading-tone to minor tonic (viiø7). more

Re-label chord function by context (e.g., bVI as IV of II). more

Chord with non-root in bass (1st, 2nd, 3rd inv.); shapes bass lines and smooth voice-leading. more

The seventh scale degree in a major or harmonic minor scale, sitting one semitone below the tonic. It creates tension that naturally resolves upwar... more

Chromatic inner line over static harmony (e.g., Am: A–G–G–F–F). more

Major triad + major seventh; smooth, lush color (e.g., IΔ7). more

Root–major third–perfect fifth; bright, stable consonance. more

Minor triad + minor seventh (e.g., ii–7). Versatile in tonal and modal contexts. more

An interval spanning three semitones between two notes—for example, A to C. It defines the difference between major and minor tonalities and is key... more

Root–minor third–perfect fifth; darker, melancholic consonance. more