6.1 Diatonic harmony
9 min read•august 20, 2024
forms the backbone of Western tonal music. It involves chords built on and scales, creating a framework for musical analysis and composition. Understanding diatonic harmony is essential for musicians across genres, from classical to jazz and pop.
This topic covers , Roman numeral analysis, common chord progressions, and voice leading principles. It also explores cadences, , and secondary dominants. These concepts help musicians create smooth, logical harmonic progressions and analyze existing works.
Diatonic harmony in major and minor keys
- Diatonic harmony is the foundation of Western tonal music and involves chords built on the notes of a major or minor scale
- Understanding diatonic harmony is crucial for analyzing, composing, and performing tonal music across various genres and styles
Triads built on scale degrees
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- Triads are three-note chords constructed by stacking thirds on each scale degree of a major or minor scale
- In major keys, the triads built on are: I (major), ii (minor), iii (minor), IV (major), V (major), vi (minor), and vii° ()
- In minor keys, the triads are: i (minor), ii° (diminished), III (major), iv (minor), v (minor), VI (major), and VII (major or diminished, depending on the type of minor scale)
Roman numeral analysis
- Roman numeral analysis is a method of labeling chords based on their scale degree and quality
- Upper-case (I, IV, V) represent major triads, while lower-case numerals (ii, iii, vi) represent minor triads
- Diminished triads are denoted with a degree sign (vii°), and triads with a plus sign (III+)
- Roman numeral analysis helps identify chord functions and progressions within a key
Common chord progressions
- Certain chord progressions are frequently used in diatonic harmony due to their strong sense of tonality and resolution
- The -I progression is a fundamental chord sequence found in countless pieces of music (blues, rock, folk)
- The progression is common in jazz and popular music, often used for turnarounds and cadences
- Other common progressions include I-vi-IV-V, I-iii-vi-ii-V, and I-V-vi-IV
Tonic, dominant, and predominant functions
- Chords in diatonic harmony have specific functions that contribute to the overall sense of tonality and tension-resolution
- function (I chord) provides a sense of stability and resolution, often used at the beginning and end of phrases
- function (V chord) creates tension and drives the harmony towards resolution to the tonic
- Predominant function (ii, IV, vi chords) precedes the dominant and builds tension, setting up the resolution to the tonic
Voice leading in diatonic harmony
- Voice leading refers to the smooth and logical movement of individual voices (soprano, alto, tenor, bass) within a harmonic progression
- Proper voice leading enhances the clarity, coherence, and expressiveness of diatonic harmony
Smooth voice leading principles
- Aim for the smallest possible motion between chords, preferring stepwise motion or common tones
- When voices must leap, use consonant intervals like thirds and sixths
- Resolve tendency tones (leading tone, chordal seventh) according to their natural inclinations
- Maintain independence of voices by avoiding in perfect intervals
Avoiding parallel fifths and octaves
- Parallel fifths and octaves between two voices are generally avoided in traditional voice leading
- These parallel intervals can create a lack of independence between voices and undermine the harmony
- To avoid parallel fifths and octaves, use contrary or oblique motion, or have one voice move by step while the other leaps
Tendency tones and resolutions
- Tendency tones are notes within a chord that have a strong pull towards specific resolutions
- The leading tone (7th scale degree) has a strong tendency to resolve upward to the tonic
- The chordal seventh (7th of a seventh chord) tends to resolve downward by step
- Properly resolving tendency tones helps create a sense of tension and release in diatonic harmony
Chord inversions and bass lines
- Chord inversions occur when a chord's bass note is not the root, resulting in a different voicing and bass line
- First inversion (3rd in the bass) and second inversion (5th in the bass) are common in diatonic harmony
- Inversions can smooth out the bass line, create variety, and enable better voice leading between chords
- Carefully chosen inversions can also emphasize certain chord tones or create specific melodic patterns in the bass
Cadences in diatonic harmony
- Cadences are specific chord progressions that create a sense of ending or punctuation in a musical phrase
- Different types of cadences have varying levels of finality and are used to structure and delineate musical ideas
Authentic cadences: perfect vs imperfect
- Authentic cadences move from the dominant (V) to the tonic (I) chord
- Perfect authentic (PAC): V to I, with both chords in root position and the tonic in the soprano
- Imperfect authentic cadence (IAC): V to I, but with one or both chords inverted, or the tonic not in the soprano
- PACs create a strong sense of resolution and finality, while IACs are less conclusive
Plagal cadences
- Plagal cadences move from the (IV) to the tonic (I) chord
- Often referred to as the "Amen" cadence due to its frequent use in church music
- Plagal cadences have a softer, more relaxed sense of resolution compared to authentic cadences
Half cadences and deceptive cadences
- Half cadence (HC): ends on the dominant (V) chord, creating a sense of incompleteness and anticipation
- Deceptive cadence (DC): moves from the dominant (V) to a chord other than the tonic (often vi), "deceiving" the listener's expectations
- HCs are used to create a sense of suspense or to mark the end of an antecedent phrase
- DCs can add variety, surprise, and harmonic interest to a progression
Cadences as phrase endings
- Cadences are essential for shaping the structure and flow of musical phrases
- They help define the boundaries between phrases, sections, and movements
- The type of cadence used can convey different levels of finality, from the strong closure of a PAC to the open-ended feeling of an HC
- Effective use of cadences contributes to the overall coherence and expressiveness of a musical composition
Diatonic seventh chords
- Diatonic seventh chords are four-note chords built by stacking thirds on each scale degree of a major or minor scale
- These chords add richness, complexity, and additional tension-resolution possibilities to diatonic harmony
Types of seventh chords
- Major seventh (maj7): built on the I and IV scale degrees in major keys (Imaj7, IVmaj7)
- Dominant seventh (V7): built on the V scale degree in major and minor keys, contains a major triad with a minor seventh
- Minor seventh (min7): built on the ii, iii, and vi scale degrees in major keys (ii7, iii7, vi7) and on the i and iv scale degrees in minor keys (i7, iv7)
- Half-diminished seventh (ø7): built on the vii scale degree in major keys (viiø7) and on the ii scale degree in minor keys (iiø7), contains a diminished triad with a minor seventh
- Diminished seventh (dim7): built on the vii scale degree in minor keys (vii°7), contains a diminished triad with a diminished seventh
Dominant seventh chords and resolutions
- The dominant seventh chord (V7) is the most important and frequently used seventh chord in tonal music
- It consists of a major triad with a minor seventh above the root, creating a strong sense of tension and desire for resolution
- V7 chords typically resolve to the tonic (I) chord, with the chordal seventh resolving downward by step
- The resolution of V7 to I is a defining feature of tonal harmony and is used in various cadences and progressions
Non-dominant seventh chords
- Non-dominant seventh chords (ii7, iii7, vi7, viiø7 in major; i7, iiø7, iv7, VI7 in minor) add color and variety to diatonic harmony
- These chords often serve predominant or tonic functions, depending on their scale degree and context
- Non-dominant seventh chords can be used for smooth voice leading, creating stepwise motion between voices
- They also enable the creation of extended harmonic progressions and sequences
Seventh chord inversions and figured bass
- Like triads, seventh chords can be inverted to create different voicings and bass lines
- Seventh chord inversions are labeled using figured bass, which indicates the intervals above the bass note
- First inversion (6/5): 3rd in the bass, figured bass is 6/5
- Second inversion (4/3): 5th in the bass, figured bass is 4/3
- Third inversion (4/2): 7th in the bass, figured bass is 4/2
- Inversions of seventh chords can facilitate smoother voice leading and create more interesting bass lines
Secondary dominants and tonicization
- Secondary dominants are dominant seventh chords that temporarily tonicize a non-tonic scale degree within a key
- They add harmonic variety, color, and tension to diatonic progressions, creating brief moments of tonal instability
Secondary dominant function
- A secondary dominant acts as a temporary dominant (V) chord to a non-tonic scale degree
- It creates a momentary sense of resolution and around the tonicized chord
- The most common secondary dominants are V/V (five of five), V/ii, V/iii, V/iv, and V/vi
Tonicization vs modulation
- Tonicization is a brief, temporary emphasis on a non-tonic scale degree, usually lasting for a few chords
- Modulation is a more permanent change of key, involving a cadence in the new key and a longer-lasting tonal center
- Secondary dominants create tonicization, while modulation requires additional harmonic and melodic changes to establish the new key
Common secondary dominants
- V/V: the most frequently used secondary dominant, resolving to the dominant (V) chord
- V/ii, V/iii, V/iv, V/vi: secondary dominants resolving to the ii, iii, iv, and vi chords, respectively
- These secondary dominants add harmonic interest and variety to diatonic progressions, often appearing in sequences or as embellishments
Resolving secondary dominants
- Secondary dominants typically resolve to the chord a fifth below (just like a regular V7-I resolution)
- The chordal seventh of the secondary dominant resolves downward by step to the third of the tonicized chord
- Proper voice leading principles, such as avoiding parallel fifths and octaves, should be observed when resolving secondary dominants
- After the resolution, the harmony usually returns to the original key, continuing the diatonic progression
Harmonic analysis and part-writing
- involves identifying and labeling chords, progressions, and cadences in a musical composition
- Part-writing is the practice of creating or arranging music for multiple voices or instruments, following principles of voice leading and harmony
Harmonizing melodies with diatonic chords
- To harmonize a melody, assign appropriate diatonic chords to each melody note based on the key and
- Consider the melody's contour, phrasing, and cadences when choosing chords
- Use a variety of chords and progressions to create interest and support the melody's expressive content
- Ensure smooth voice leading between chords and avoid excessive leaps or awkward intervals in the accompanying voices
Realizing figured bass with proper voice leading
- Figured bass notation indicates the intervals to be played above a given bass line, often in Baroque-style keyboard music
- To realize a figured bass, construct chords based on the figures and the bass note, following voice leading principles
- Pay attention to the resolution of tendency tones, proper treatment of dissonances, and avoiding parallel fifths and octaves
- Aim for a smooth, musical realization that supports the bass line and creates a coherent harmonic progression
Analyzing harmonic progressions in repertoire
- When analyzing the harmony of a musical composition, identify the key, chords, and progressions used
- Label chords using Roman numerals, figured bass symbols, or chord names (e.g., I, V6/5, Cmaj7)
- Identify cadences, secondary dominants, modulations, and other harmonic devices
- Consider how the harmony relates to the melody, form, and expressive content of the piece
- Use your analysis to gain a deeper understanding of the composer's harmonic language and musical style
Composing with diatonic harmony
- Apply your knowledge of diatonic harmony, voice leading, and harmonic progressions to create original compositions
- Start with simple chord progressions and melodies, gradually expanding to more complex harmonies and forms
- Experiment with different chord voicings, inversions, and non-chord tones to add variety and interest
- Use secondary dominants, tonicization, and modulation to create harmonic contrast and development
- Consider the expressive and emotional qualities of different harmonic choices, and use them to convey your musical ideas effectively
Key Terms to Review (22)
Augmented: In music, 'augmented' refers to an interval that is one half-step larger than a major interval or perfect interval. This term can also apply to chords, specifically an augmented triad, which consists of a root, a major third, and an augmented fifth. Understanding this concept is essential for recognizing intervals, building chords, and analyzing harmony within compositions.
Cadence: A cadence is a melodic or harmonic configuration that creates a sense of resolution at the end of a musical phrase. It serves as a musical punctuation mark, signaling the closure of a thought or section, and is crucial for establishing tonal center and movement in music.
Chord Symbols: Chord symbols are a shorthand way to notate chords in music, typically consisting of a letter that represents the root of the chord, followed by additional symbols that indicate chord quality, extensions, and alterations. They allow musicians to quickly understand the harmonic framework of a piece and provide a guide for performance, improvisation, and composition. By using chord symbols, performers can engage with the music more dynamically and adapt their playing to various styles and arrangements.
Contrary Motion: Contrary motion refers to the musical movement where two or more melodic lines move in opposite directions, creating a sense of contrast and independence between the voices. This technique is essential for developing harmonic texture and is commonly used when working with triads and diatonic harmony to enrich the overall sound and structure of the music.
Diatonic harmony: Diatonic harmony refers to the system of chords built from the notes of a specific scale, where each chord is derived from the seven notes of that scale. This harmony is foundational in Western music, as it establishes a sense of key and tonal relationships that guide the progression of musical phrases. Diatonic harmony is characterized by its use of major and minor triads, along with seventh chords, creating a rich framework for composition and improvisation.
Diminished: Diminished refers to a specific quality of intervals and chords in music that create a sense of tension or instability. In interval recognition, diminished intervals are formed by reducing a perfect or minor interval by one half step, while diminished chords consist of two stacked minor thirds. This concept is essential in diatonic harmony as it often appears in chord progressions, leading to resolutions and creating a unique sound that contrasts with major and minor qualities.
Dominant: In music, the term dominant refers to the fifth scale degree of a diatonic scale, and it plays a crucial role in establishing harmonic tension and resolution within musical compositions. The dominant chord is built on this fifth degree, creating a strong pull back to the tonic, which is the first degree of the scale. This relationship is essential in understanding chord progressions, harmonic dictation, and overall tonal structure.
Functional Harmony: Functional harmony refers to the system of chords and their relationships that create a sense of movement and resolution within a piece of music. This concept emphasizes how different chords serve specific roles in relation to the tonic, dominant, and subdominant, guiding the listener through a musical narrative. It is essential in understanding chord progressions, the use of triads and seventh chords, and how these elements work together in harmonic dictation and accompaniment.
Harmonic Analysis: Harmonic analysis refers to the systematic study of chords, their relationships, and functions within a piece of music. This process involves identifying the qualities of chords, understanding their roles in harmonic progressions, and interpreting how they contribute to the overall structure of a composition. It serves as a crucial skill for musicians to dissect and interpret musical works effectively.
Harmonic rhythm: Harmonic rhythm refers to the rate at which chords change in a piece of music. It influences the overall feel and movement of the music, establishing the framework for chord progressions and contributing to the emotional impact. The concept connects closely with various musical elements, such as melody and rhythm, and is crucial in creating harmonic progression and setting the mood for improvisation.
I-iv-v: The i-iv-v chord progression is a common sequence found in music, particularly in minor keys, where 'i' represents the tonic chord, 'iv' is the subdominant chord, and 'v' is the dominant chord. This progression creates a sense of movement and tension, often leading back to the tonic, making it foundational for many songs. Understanding this sequence is key for recognizing patterns in diatonic harmony and how they contribute to effective chord progressions.
Ii-v-i: The ii-v-i progression is a common chord sequence in music that moves from the supertonic (ii) chord to the dominant (v) chord and resolves to the tonic (i) chord. This progression is foundational in jazz and popular music, creating a strong sense of movement and resolution, and is closely tied to the concepts of chord progressions, diatonic harmony, and harmonic structure.
Major: In music, 'major' refers to a specific quality or mode that is characterized by a happy or bright sound. It is commonly associated with major scales, which consist of seven distinct pitches arranged in a specific pattern of whole and half steps. This quality is essential for understanding diatonic harmony, as major chords and their related harmonies form a foundational aspect of tonal music.
Minor: In music, 'minor' refers to a specific type of scale or tonality that is characterized by a sad or somber sound. It contrasts with the major scale, which has a brighter and happier feel. The minor scale is built using a specific sequence of whole and half steps, resulting in a unique set of intervals that creates its distinctive mood.
Parallel motion: Parallel motion refers to the movement of two or more voices or parts in the same direction by the same interval. This concept is crucial for understanding how melodies and harmonies interact, especially in the context of chords and harmonic progressions. By examining how voices move in parallel, you can gain insights into voice leading, texture, and the overall structure of musical compositions.
Roman Numerals: Roman numerals are a numeral system originating in ancient Rome, using combinations of letters from the Latin alphabet to represent values. This system is important in music theory for indicating the scale degrees of chords within a key, allowing musicians to easily understand and communicate harmonic progressions and relationships between chords.
Scale Degrees: Scale degrees refer to the individual notes within a scale, numbered according to their position relative to the tonic, or the first note of the scale. Each scale degree plays a specific role in establishing the scale's overall sound and function, influencing harmony, melody, and musical structure. Understanding scale degrees is essential for recognizing patterns in music and aids in various areas such as composition and improvisation.
Seventh chords: Seventh chords are a type of chord that consists of a root, third, fifth, and seventh note. They add depth and richness to harmony by introducing tension and color, making them an essential element in music composition. These chords can be found in various forms, such as major, minor, dominant, diminished, and half-diminished, each having its unique sound and function within a piece of music.
Subdominant: The subdominant is the fourth scale degree in a diatonic scale and serves as an important harmonic function, typically providing a sense of movement away from the tonic while creating tension that leads back to it. This term is crucial in understanding chord relationships and progressions, as the subdominant chord plays a significant role in shaping the musical landscape by preparing for the dominant and returning to the tonic.
Tonal center: A tonal center is the primary pitch or chord around which a piece of music is organized, providing a sense of resolution and stability. It acts as the focal point that gives music its structure, influencing harmony, melody, and rhythm. Understanding tonal centers is crucial for grasping how various musical elements interact and develop throughout a composition.
Tonic: The tonic is the first note of a scale and serves as the home base or central pitch around which the other notes in the scale revolve. It establishes the tonal center, providing a sense of resolution and stability in music, and is crucial for understanding scales, harmonies, and chord progressions.
Triads: Triads are three-note chords formed by stacking two thirds on top of a root note. They serve as the building blocks of harmony in Western music, creating the foundation for chord progressions and influencing the overall sound of compositions. Each triad can be classified into major, minor, diminished, or augmented based on the intervals between the notes.