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wwwœwwww: Diatonic Functioning Chord Scales

The document discusses diatonic chord scales and modal functioning. It provides the example of a C major 7 chord scale, stating it is called C Ionian and is the Imaj7 chord in the key of C. It explains that the fourth degree note (F) is an avoid note that should only be used as a passing tone. The document also discusses how modal progressions are common in contemporary music and were popularized in jazz in the 1950s-60s, and how purely diatonic music uses diatonic chord scales based on the key.

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45 views1 page

wwwœwwww: Diatonic Functioning Chord Scales

The document discusses diatonic chord scales and modal functioning. It provides the example of a C major 7 chord scale, stating it is called C Ionian and is the Imaj7 chord in the key of C. It explains that the fourth degree note (F) is an avoid note that should only be used as a passing tone. The document also discusses how modal progressions are common in contemporary music and were popularized in jazz in the 1950s-60s, and how purely diatonic music uses diatonic chord scales based on the key.

Uploaded by

秦戈
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Diatonic Functioning Chord Scales

& w w w w w
w w œ
The modal name for the chord scale above is C Ionian. The chord symbol
for this scale would be Cmaj7. It is Imaj7 in the key of C. Both the chord
symbol and the chord scale refer to the same structure, but the chord
scale is more complete and shows all the diatonic pitches.

The fourth degree (F) is an avoid note. It is usable only as an approach


note, passing tone or neighbor tone. If it were used in a voicing as a ten-
sion above a chord, it would clash with the major 3rd of the chord, creat-
ing an unacceptable dissonance. In addition, since it is a melodically
unstable tone, it is inconsistent with the stable nature of a tonic chord.
(Of course, anything is possible as a special effect, but the focus in this
course is on contemporary common practice.)

Modal Progressions It is important to distinguish modal terminology when used solely for
labels to identify chord scales, from modal harmony. Modal progressions
are extremely common in contemporary music, and were popularized
by jazz innovators of the 1950’s and 1960’s. Music that has a mode other
than Ionian as its tonal center and harmonic source will be covered in
much more depth in Harmony 4.

Purely diatonic music uses diatonic chord scales. That is, if the melody
and chords, or melody and bass, are all diatonic, then the chord scale for
each harmonic event — each chord change — will be a familiar mode of
the major or minor key that governs the whole piece. The available ten-
sions will be a whole-step above a chord tone: diatonic pitches a half-step
above a chord tone are avoid notes. (The examples below are in a major
key; minor key music naturally yields different results. Minor key is ex-
plored later in Part One.)

Ionian A diatonic melody accompanied by a I chord, or by the tonic of the key


in the bass, produces an Ionian chord scale; the 4th degree is avoided. The
I chord can have 9 and/or 13 in the melody or added as tensions to a voic-
ing.

# w
& # w w w œ w w w
1 T9 3 S4 5 T13 7 1

 harmony 3

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