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

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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Eduardo Diez Vieira
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504 views2 pages

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

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.

Uploaded by

Eduardo Diez Vieira
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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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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