Music Theory for Musicians

and Normal People

Chromatic
Harmony
tobyrush.com
 music theory for musicians and normal people by toby w. rush

Altered Chords
up to this point, all the chords we’ve
)
ic
been talking about have been built using
only the notes in the current key.
t
essentially, this means n ic ma
no accidentals, with the
to ro
a ch
di
exception of the raised sixth
and seventh scale degrees
in minor, which we (
consider to be
e d now that we’ve covered all
part of the key.
r tertial
theory

27 the possible diatonic chords in

lt e harmony, it’s time to open

8
a the door to notes outside the key...

these “altered chords” add a

s 15
triad
tonic nths
dia
seve 88
tonic onies
dia
harm
nded
exte

certain richness to the harmony

by using one or more notes #b
that are not in the key signature 50ne

we’ll be covering
x
m t
il

and thus require accidentals.

e
s

several categories
of altered chords,

V
each of which have

d
their own unique

2
rules for use. Secondary

$
NEAPOLITAN

6
Subdominants
however, there are BORROWED
a few things that CHORDS
they all have in SECONDARY
common!
DOMINANTS AUGMENTED
SIXTHS

first, every altered chord has to

have at least one accidental...
second, altered chords can be easily used in place of their
if it doesn’t have any accidentals,
diatonic counterparts. in other words, you can add some pizazz
then by definition it’s a
to a composition by replacing a diatonic chord with an

&c œ
diatonic chord!
œ œ œ
altered chord

œ œ œ œ œ ˙
b b
that has the

& b n ˙˙˙ & b ˙˙˙

same root.

?c œ œœ œœ œœ ˙ ˙˙ ˙
œ˙ œ œ ˙ b b ˙˙
V/ ii b VI
V I IV6 IV V7 vi

˙
altered diatonic
& b ˙˙ ˙ in general, avoid cross relations.

˙ n ˙˙
a cross relation occurs when a note

? ˙
appears with two different accidentals

b
in two consecutive chords, in two
different voices.

3
2 with few exceptions,
altered chords can use
lastly, when you use these chords
in part-writing, you should,
& b ˙˙ ˙˙
the same basic root
1
b˙ ˙
whenever possible, resolve the
movements that we’ve

?b ˙
altered tones in the direction

˙
been using. of their alteration.
5
like the diatonic sevenths, so if a note has a flat, try to
however, the common root resolve it down by step or by leap.
should only increase tension... ii°65 V
don’t move from an altered chord
and we generally avoid doubling altered notes,
to its diatonic counterpart.
since doing so would tend to cause parallel octaves.
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 music theory for musicians and normal people by toby w. rush

Borrowed Chords
altered chords use notes outside
how does a composer decide which
altered notes to use? in a major key,
one possibility is using notes and chords
the scale as a means of adding a
from the parallel minor.
different “color” to the chord.

www
bbb www
for example, the following chords are diatonic chords in c minor:

& ww www www www nw

“borrowed”?
why call them
that when major
w w
never brings
them back?
c: ii° ii°7 III iv VI vii°7

hey, minor!
but if we use them in a major key, they require accidentals and are
I’ll have them therefore altered chords. we call these borrowed chords because they

b www
back by tuesday
are borrowed from the parallel minor.

b b www
this time, I

b wwww b www
promise!

& b www b b www Nw

some theorists C: ii° ii°7 bIII iv bVI vii°7
refer to the use
of these chords as
mode mixture. two of these chords,
and, in fact, these six chords the “flat three” and “flat six,”
have altered tones as roots.
are the six most commonly used
we place a full-sized flat symbol
borrowed chords in the common before the roman numeral itself
practice period. (One of them, the to indicate this altered root.
major triad on the lowered mediant,
or “flat three,” was not used much

& b ˙˙ ˙
by composers before
˙
wait... why? since we
the romantic era.)
double the root,
moving both roots

? b˙ ˙
all the usual part-writing rules apply to these the same direction 5

b˙ ˙
chords. for example: can often result in
parallel octaves. 8

bVI
˙
V
6 the borrowed supertonic is a
& b ˙˙
ii° diminished triad, and is therefore
always used in first inversion.
˙ it’s more important to
avoid parallelism than

? b˙ ˙
to resolve the notes
a certain way, so this
b˙ ˙ use of contrary

ii°7 7
the borrowed seventh chords motion is better.
can be used in any inversion, but the bVI V
seventh must be approached
and resolved properly. vii°
b III
the picardy third is a major tonic
chord at the end of a minor piece, so
many theorists consider it a borrowed

bVI
it’s usually best to resolve altered chord. really, though, it’s not adding
notes in the direction of their chromatic variety... it’s a last-minute
U
alteration, but doing so in the two
œ #œ w
modulation!
b œ
& b ˙ œ # œ œ œ œ œ œ œœ œ œœ œ w
altered root chords won’t work.

named for
j ‰ j‰ œ U
7 ? b b œœ œ œ œ œ œ œœ œ œœ n w
the leading-tone fully diminished 24th-century

vii°
explorer
w
seventh is the king of dominant
jean-luc
function. don’t even think of
picard!*
resolving it to anything but tonic! g: i V7 i VI ii°6 V I
*Nope.
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 music theory for musicians and normal people by toby w. rush

The Neapolitan Six

in addition to the altered root borrowed chords,

*****
there is another altered root chord that fits well since it’s not a borrowed
with the borrowed chords, even though it is not chord, this chord can be used
actually borrowed from the parallel minor. in both major and minor.

that chord is a

b w
major triad there are a couple of interesting
built on the things about this chord. one is
lowered second the fact that it is almost

& b ww
scale degree. exclusively used in first inversion.

seriously! although this

chord is extremely common
in the common practice
period, there are very few
examples of it used in
root position.
second inversion is
even rarer.

the second interesting thing about

6
C: N the chord is its name: you might expect
it to be called a “flat two,” in keeping
with the other altered root chords.

The Neapolitan six chord, since it is but, in fact, this is the first of a few chords
built on a form of the supertonic, that have special names. This particular one
has some characteristics of a is called the neapolitan chord.
subdominant function chord
in that it often resolves toward a “neapolitan” means “from naples,”
dominant function. in fact, it is very referring to the city of naples,
common to see the neapolitan chord italy. the chord isn’t actually
resolve to a dominant seventh in from naples, though; it was
third inversion, or to a cadential just associated with the operas
six-four chord. written by neapolitan composers

& b b ˙˙ ˙
like alessandro scarlatti.

˙ b ˙˙ ˙˙

b˙
scarla

˙
Naples

? ˙
tti

˙
˙ ˙ ˙ ˙ funny thing is, this chord was used pretty
commonly before scarlatti’s time, in
compositions far from the courts of italy.
C: N6 V24 N6 I46
(even though the neapolitan chord it’s also worth noting that although nearly
has a lot in common with other every theorist and theory textbook calls the
subdominant function chords, it is chord a “neapolitan sixth chord,” it is more
most often referred to as part of properly called a “neapolitan six chord.” that’s
a larger group of chords called because in the rare situations where it is used
predominants, and the label of in root position, it is simply called the neapolitan
“subdominant function” is generally chord, and when it is found in second inversion,
limited to the subdominant and it’s called the neapolitan six-four.
supertonic chords and their
variants.) since we don’t pronounce I6 as “one sixth,”
we shouldn’t say “Neapolitan sixth” for N6!

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 music theory for musicians and normal people by toby w. rush

Secondary Dominants
there is a duality at the heart of common that duality, of course, is the relationship
practice period harmonic progression. of dominant function and tonic.
like the ancient conflict of jedi and dominant harmony typifies tension
sith, it consists of forces that, in the common practice period, and
at one level, work against each
other... but at another, higher V the tonic represents release.
its simplest form, the authentic
level, work together, creating cadence, has been ubiquitous
energy that drives all else. in western music for centuries.

the progression of dominant but that’s crazy talk, though,

moving to tonic is so strong, it isn’t it? I mean, how could we
would be nice to be able to use
it to provide motion to chords
I control that magic and make it
obey our compositional whim?
other than tonic.

the answer, of course, is with secondary dominants.

let’s say we wanted to what if we wanted to use

˙˙˙ ˙˙˙
approach this vi chord. we could use one of the usual that dominant-tonic magic?

& &
diatonic chords, the tonic, the
? subdominant, the mediant... but
what if we’re looking for a bit
?
more tension and release?
vi vi

if we pretend for a moment that the chord we’re resolving to is a tonic chord, what would

˙˙˙ ˙˙˙ ˙˙˙

the corresponding dominant chord be? altered, yes, but we’re not afraid of those anymore:

& # ˙˙˙ & # ˙˙˙ & # ˙˙˙

a: V i V a C: V vi
a vi

while we might have once called this a now, we’re not just limited to the v chord:
short modulation, it is really more like there are five chords with a dominant function!
borrowing another key’s dominant chord.

V V7 vii° vii°7 vii°7

if we think of the V chord in the key
as the primary dominant, V chords of
related keys are secondary dominants.
dominant function chords

that gives us
7 7 7
V V vii° vii° vii° a huge list of
possibilities!

x x x x x
the secondary dominants
these chords often resolve to the
in major keys, the “x” above can be any chord “under the slash,” but they can
diatonic chord other than tonic (obviously) actually be approached and resolved
or the leading-tone triad. why? because using the basic root movements!
a diminished triad has a hard time acting
like a temporary tonic chord. 2 the basic
root movements
3 rock!
in minor keys, the composers generally 1
only used secondary dominants 5
of iv and of V. yes. yes they do.
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 ˙ ˙
music theory for musicians and normal people by toby w. rush

Augmented Sixth Chords

like that moment of incredible tension just
before the hero finally kisses the leading
lady, the half-step is the go-to interval
for creating tension in music of the common
practice period. it drives the entire style!

if one half-step can create such strong tension, how

about two half-steps sounding simultaneously? Let’s
get creative here for a minute to find a cool new way
to approach a diatonic chord. in this case, we’ll use them to approach the dominant triad.

...and approach that

# ˙˙ ˙
first, we’ll start with octave with a half step

#˙ ˙ & b ˙
below the top note,

˙
the doubled root of a

˙ & ˙
b
V chord...

˙
& ˙ V
V ...and, finally, add the
V ...and a half step above tonic as the third note.
the bottom note...

the result is a new chord, one we call the augmented sixth chord,

# www
after the interval created by the top and bottom notes.

& b w
augmented sixth chords are predominant chords,
meaning they are used to approach dominant chords.
if we just use they are usually used to approach dominant triads,
three notes not dominant sevenths, because of the doubled
and double the roots present in dominant triads.
tonic, we get the

& #˙ ˙
italian
˙ ˙
however, they also often
augmented sixth.
It.6 approach tonic chords
in second inversion,
? b˙ n˙

# www
b˙
which also contain a
doubled fifth scale degree.
˙

&b w
˙
I46
˙˙
if we add the Ger.6
& ˙
second scale
degree instead rarely, augmented sixth chords
of doubling the are found transposed down

? b ˙˙ ˙
tonic, we get the
˙
a perfect fifth, analyzed as
french “on flat two,” and used to
augmented sixth.
Fr.6 Fr.6 I
approach a tonic chord in
root position.
on b2

b b # wwww & # ˙˙ ˙
˙
&
and if we and, finally, when resolving
replace the the german augmented sixth
second scale chord to a dominant triad,

?
b b ˙˙
you might find yourself

˙˙
degree with the
lowered third writing parallel fifths...
scale degree, but it’s perfectly okay!
we get the mozart did it all the time! 5
german
augmented sixth.
Ger.6
Ger.6 V
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 music theory for musicians and normal people by toby w. rush

Altered
œ œ
œ
and
œ
œœ œ
Enharmonic
w
ww
Modulation
& b œœ œ n œœ
Altered common chord modulation
is easy: remember diatonic common
F: I IV V chord modulation, where we used a
C: I V I chord that was diatonic in both
the old and new keys?

œœœ œœœ
& b œœœ # n www
altered common chord modulation

# n # œœœ
is the same thing, only using the
pivot chord as an altered chord
in either the old key, the new key,
or both. F: I IV V
E: b VI V I
Now, in both diatonic modulation and altered modulation, we have one chord that plays two
different roles, one for each key. But the chord type doesn’t change... if it was a major
chord in the old key, it’s still a major chord in the new key.
...but what if the chord type did change?

this technique is
in enharmonic modulation, we respell a chord
so — well, odd — that
enharmonically so the chord type itself
there are only
is different in the old and new keys.
two specific ways
to do it.
ever notice that the german
augmented sixth chord is just like fully diminished seventh chords are
a major-minor seventh chord cool for a lot of reasons, and one of
with the seventh respelled them is that they are equidistant chords:

b b www
inverting a fully diminshed seventh

b # www
enharmonically?
yields another root-position fully

& b w bw
dimished seventh chord.

b b wwww b b wwww b b ∫ wwww

beethoven

respell
& & &
did!
invert

C: Ger.6 D b : V7
7
a° a°56 c°7
we can take advantage of this and use it meaning that a fully diminished
as a pivot chord... where it acts like a leading tone seventh chord
german augmented sixth in one key can be a pivot chord into
but like a V7 (or a V7/x secondary dominant) three other possible keys:

bbbb
# œ b œœœ
in the other key!
# œœœ
& œœ # œœœ
& b œœ œœ n œ œœ œ œ
which can be

nœ
respelled as

G: I vii°7 vii°7
E: vii°65 I

? bb b œ œœ n œ n œœ # œ
& œœ
b œœœ œ
b ∫ œœœ
bb œ nœ
œ n b b œœœ
which can be
respelled as

G: I vii°7 vii°7
D b : IV 6
V 7 b
D : vii°34 I
# œ b œœœ œ b n œœœ
b œœœ
C: Ger.6 V I
note that the pivot chord above is & œœ œ which can be
respelled as
approached like a dominant seventh,
but resolved like an G: I vii°7 vii°7
augmented sixth chord! b
B : vii°42 I
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 music theory for musicians and normal people by toby w. rush

Secondary Subdominants
after learning about secondary dominants,
you might wonder if it’s possible to extend the
concept to other chords.

for example, if we can use a dominant function chord

from a related key, what about a subdominant function
chord from a related key, like IV of V?

well, the answer is yes, and the chords that result are called secondary subdominants.
but before we talk about them, you need to understand a few things.

first of all, the very existence of

these chords is debatable.

what one theorist might call second, the only place

a secondary subdominant: we find chords that

& b œœœ # œœœœ œœ œœ

we can call secondary

œœ n œœ
subdominants is in the

œ
music of thex
romantic era.x
7
C: C: ii° V42 V6 I
V V

another might call a

short modulation. iv
& b œœœ # œœœœ œœœ n œœœœ
Lastly, since these chords are already

IV iv pushing the limits of tonality, composers

œ œ
would only use secondary subdominants
from closely related keys. In
other words, secondary subdominants
G: ii°7 V42 I6
C: V6 I
V should only be “of IV” and “of V.”

keeping these things in mind, let’s look at the possibilities:

what are all the subdominant function chords we’ve encountered?
first, there are next, the diatonic and, lastly, a few
the diatonic triads: seventh chords: borrowed chords:

ii IV ii7 IV7 ii° ii°7 iv

7 7
ii° ii°
so a secondary subdominant can
have any subdominant function
chord above the slash, and
a IV or V below the slash.

IV V
however, the most commonly
found secondary subdominants
are those that use the half-
diminished supertonic seventh.

to approach these chords,

the most common way to resolve
use any of the basic root
movements. secondary subdominants is to ii°7 V7
the corresponding secondary
which are awesome. dominant. V V
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 music theory for musicians and normal people by toby w. rush

Romantic Era Techniques

2000
1800

1900
1600
1500

1700
early 20th
renaissance baroque classical romantic century
contemporary

however, the music of the romantic

the music of the baroque, classical era employed some interesting
and romantic eras share a consistent use techniques that set it apart from
of harmony and counterpoint, enough to cause the baroque and classical eras...
theorists and historians to group them together
as the “Common Practice Period.”
...and foreshadow some of
the big changes coming in
11 ii° the twentieth century!
V we’ve already mentioned a few chords
IV
that were specific to the romantic era:
13 dominant eleventh and ii°
V thirteenth chords, V
bIII & # ˙˙ n ˙˙
the “flat three” borrowed chord,
and secondary subdominants. iv
IV

? b˙ ˙˙
b˙
another technique that is unique to the romantic era is
the resolution of an augmented sixth chord to a
dominant seventh chord rather than a dominant triad,
causing the interval of the augmented sixth to resolve
obliquely instead of moving outward to the octave. Ger.6 V7
finally, romantic era composers would sometimes use a particular type of chord
progression that had the effect of suspending tonality for a portion of the
piece. By temporarily removing the feeling of being in a certain key, the composer
could easily modulate to a distant key!
if you think of ...
t
tonality like ar hird
of e l r
this technique is called being in a f ike ela
room... in the tur tion
third relations because it t
fo he gra ning s
involves moving by root r r v
a oo ity
movements of a major or bit m
...
minor third without respect
to key signature.

for example...

œœœ
here, we’re

œœœ
...here, we’re just

& b œœœ œœœ

in F major...

# ˙˙˙
moving down by thirds...

b n ˙˙˙
F: I IV V I DM Bb M
...which obscures any
*whump*

& b # # # ˙˙˙ b b ˙˙˙ n œœœ # # œœœ

sense of key we had...

# œ # œœ
...and then turning

# n œœ œ
the gravity back
on... but in a
different

F #M E bM
direction!

B: I IV V I
and then we land
in b major!
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