Introduction to Chromatic Harmony

[JumpingJackFlash]

Before you look at any of this, you should first be familiar with Diatonic Harmony. You should also be familiar with the basic principles of music theory (See this thread for details).

Here, I present various chromatic chords, and how they are best prepared and resolved (in classical harmony).

Don't overdo chromatic chords, they are like spices; a little of the right stuff can do wonders, but overused and you ruin your meal.
In 4-part harmony, never double a chromatic note in any chord.

Note: As with most of my posts, I do NOT use lower and upper case letters to differentiate between Major and minor chords. Thus, II is the normal 2nd chord within a key, it is actually a minor chord (in major keys), but I still call it II, and NOT ii.

bII Neapolitan Sixth
IIb with flattened root and flattened fifth in a major key, or flattened root only in a minor key. Usually used as a substitution for IIb in the approach to a cadence. Double the bass. Resolves to Ic, V or V7. The flattened root (sixth above the bass) is normally in the highest part.

In resolving to V or V7, the flattened root falls a diminished third to the leading note. (With Ic, it falls a semitone then another semitone to the leading note - the third of V). eg. bIIb-Ic-V. The flattened fifth always falls a semitone.

In a major key, precede a Neapolitan 6th by either I or Ib (or possibly IV). In a minor key, precede by I, Ib, IV, IVb, VI or VIb. Approach from I7, IV7 or VI7 is also possible if context permits. eg. I-bIIb-Ic-V7-I.

Try to avoid false relations in approach to the Neapolitan sixth.

bIV Minor Subdominant Triad
In a major key, have a minor 3rd instead of a major 3rd in the subdominant chord (ie, flatten the third of IV). Do not quit the note by a forbidden interval (eg augmented 2nd). Proceed to Ic, V or V7. Use only in approaching a cadence (bIV-V-I), or in a plagal cadence (bIV-I). The flattened third often falls a semitone.

bVI
In a major key, flatten the root and fifth of the mediant chord. Use only at the end of a passage, in context V-bVI-IV-I, with an interrupted and plagal cadence. (The flattened fifth often rises a tone). Again, beware of forbidden intervals.

bII7
In a major key, flatten the fifth of the supertonic seventh. Use and restriction the same as bIV above. (It may be followed by I for example).

#II (V of V) Supertonic Chromatic Triad
Use in major or minor key. In a major key, sharpen the third of II, and precede by I, III (improbable), VI - with their inversions and sevenths, or V or Vb.
In a minor key, sharpen the 3rd and 5th and precede only by I, V or their inversions.
Follow #II by Ic or V7. The sharpened third rising a diatonic semitone (eg F#-G) or falling a chromatic semitone (eg. F#-F natural). Used most often in cadences. The secondary dominant, #IIb is often used in imperfect cadences (preceding V).

V7 of V Supertonic Chromatic Seventh
Basically, as #II7 above, only with an added minor 7th above the root. Approach as per #II7, and resolve to Ic or V7, the seventh remaining stationary or falling a tone respectively. Inversions are also possible (eg V-#II7b-V7d-Ib, or VI-#II7c-V-I).

#IVb Diminished Triad on Sharpened Fourth of Scale
IVb with a sharpened root (6th above bass). This forms a diminished triad. Availability and uses are identical to Supertonic Chromatic Seventh above. The sharpened root often rises a semitone.

#IV7
IV, with a seventh above the bass, and the sharpened root. Major key only. Resolves to Ic or V7, the seventh remaining stationary or falling a step. Preparation not required. The fifth should remain stationary or fall a step. Beware consecutives!

II9 Supertonic Chromatic Ninth
II with an added seventh and ninth, and a sharpened third in the major key, and sharpened third and fifth in the minor key. (In four parts, the fifth is omitted). Resolves to V7 of V, the 9th falling a step, or to Ic or V7. Eg, II9-V7 of V-V7-I. Only use with ninth in top part.

I7 Tonic Chromatic Seventh and Ninth
Useless generally, except when modulating. I7 or I9 both resolve to either V7 or II7 chromatic. Eg I7b-V7c(-I) with the chromatic seventh rising a semitone to the third of V, or I7-II7 with the chromatic seventh falling a semitone to the fifth of II (in both cases preceded by step).

I7 chromatic has a flattened seventh (eg in C: C, E, G, Bb)
II7 chromatic has a sharpened third (eg in C: D, F#, A, C).

Augmented Sixths
Occurring on flattened sixth and flattened second of the scale in either major or minor key. On the sixth is more common. They all have an augmented sixth above the bass.

Augmented sixths in a minor key have the same exact notes as the major key. I.e, treat any minor key as the tonic major and work the augmented sixth out from that.

There are three forms:

Italian
(IVb). Bass, major 3rd, augmented 6th. (eg in C: Db, F, B or Ab, C, F#). Only the third may be doubled.

French
(II7c). Bass, major 3rd, augmented 4th and augmented 6th. (eg in C: Db, F, G, B or Ab, C, D, F#).

German
(IV7b). Bass, major 3rd, perfect 5th, and augmented sixth. (eg in C: Db, F, Ab, B or Ab, C, (D# or Eb), F#). (When spelt with an Eb, usually used in the minor mode).

Augmented sixths on the flattened sixth of the scale resolve to Ic or V (or V7). German 6ths resolving to V may lead to inevitable parallel 5ths which are permissible in this context (but better to resolve to Ic instead).

The upper and lower notes should resolve outwards to the octave (dominant note). The other notes all resolve by step or by remaining stationary (except Italian 6th to Ic, when one of the 3rds rises up a 3rd).

In a major key, the chord preceding the augmented sixth should have a bass of the tonic or unaltered sixth of the scale. (eg, I, IVb, VI) and approach the augmented sixth note from the first, third, fourth or fifth degrees of the scale.

In a minor key, the bass requirement is the same, but the sixth can only be approached from first, fourth, fifth or natural sixth degrees of the minor scale.

Augmented sixths on the second scale degree are less useful and should resolve to V7c, the bass rising a chromatic semitone. Beware, augmented sixths can sound very 'greasy'.

Occasionally, the German sixth may appear in inversion (like IV7a) with the sharpened fourth in the bass, resolving up a semitone to Ic for example.

Diminished Sevenths
In a major key, available on the sharpened 2nd, 4th and 6th degrees of the scale, in a minor key, #IV7 is the only possible one. All are available in all their inversions. Remember, a diminished seventh is a four-note chord consisting of minor thirds. You may have to ignore normal doubling rules for the resolution chord.

#II7
Approach from I, II, IV, V or VI, and resolve to some position of I, with the sharpened root and third both rising a diatonic semitone, and the fifth falling a step.

#IV7
Approach from I or VI, and resolve only to V7 (or to VIIb with #IV7d).

#VI7
Approach from something like Vb, VI etc. and follow by some version of V, root and third rising a step, fifth falling a step and seventh remaining stationary for example.

[cheul]

Looks great. Yet it's disturbing to see only upper case roman numerals. Would you consider adding a MIDI example for each section ? (using a host's piano roll view helps getting the big picture)

[Toxikator]

Very cool but there are some problems. For example, calling a #II "V/V" is incorrect (it's really just MajII). Also, no mention of Chromatic Mediants!

But still, very nice...!

[tee boy]

This is a great post, many thanks.

You know what I think would be useful though, to focus on specific chords and explain how they came into fruition.

For instance, the augmented sixth chords originating from the countrapunctal use of the subdominant. All those aug 6 chords are just alterations of the subdominant in first inversion.

If we chord focus on one particular harmonic principle at a time, I think we could all learn a lot.

These condensed summaries are GREAT. But at some point, to gave true understanding, we need to delve deeper and learn the details.

TB

[cheul]

Also, no mention of Chromatic Mediants!

Ah ah I was looking for these too while giving a quick look !!

These condensed summaries are GREAT. But at some point, to gave true understanding, we need to delve deeper and learn the details.

Quite the feeling I had. And I guess it would make sense going one chord at a time as you're supposed to use it as a spice.

Thanks again.

[JumpingJackFlash]

Would you consider adding a MIDI example for each section ? (using a host's piano roll view helps getting the big picture)

Maybe one day when I'm really bored, but it sounds a bit too much like hard work right now

Very cool but there are some problems. For example, calling a #II "V/V" is incorrect (it's really just MajII). Also, no mention of Chromatic Mediants!

Functionally, they may differ when #II does not resolve, but I did say it should resolve to V (or Ic, which is basically an extension of V), and that it's usually used in cadences. - Under those circumstances, they are effectively the same.

As I recall, there were a couple of other posts on here recently going into detail about chromatic mediants, so I didn't feel the need to repeat it.

These condensed summaries are GREAT. But at some point, to gave true understanding, we need to delve deeper and learn the details.

I agree, but remember this was only an introduction to chromatic harmony. - Anyone curious can pick up a book, which would go into a lot more detail (and explain much better than I could). I didn't want to get bogged down in too much theory and history here.

And thanks to everyone for your kind praise.

[Toxikator]

Give me a few days and I'll probably do it if no one else has.

I'd be doing it anyway for my own benefit (to hear how they sound) so there's no reason I can't upload that.

[sendero]

Dear all,

Regarding chromatic chords, last night I got a very interesting program called "chromatic chords" and "walking bass lines"...that apparently was d/l from ilovemusic.com...they are great! and was wondering if anybody has more softwares from this (Ilovemusic) or other site? BTW, I tried to google Ilovemusic.com and...it is dead...

Please, let me know and use them..they are great !

[nuffink]

Dear all,

Regarding chromatic chords, last night I got a very interesting program called "chromatic chords" and "walking bass lines"...that apparently was d/l from ilovemusic.com...they are great! and was wondering if anybody has more softwares from this (Ilovemusic) or other site? BTW, I tried to google Ilovemusic.com and...it is dead...

Please, let me know and use them..they are great !

Are you sure it wasn't the wonderful www.ibreathemusic.com ?

[guitargeek9]

good post...i need to delve into it more

[VicDiesel]

bIV Minor Subdominant Triad
In a major key, have a minor 3rd instead of a major 3rd in the subdominant chord

bVI
In a major key, flatten the root and fifth of the mediant chord.

When does putting a b in front of a chord mean flatten the third, and when does it mean flatten the root? If you flatten the root, do you automatically flatten the fifth? Is "bVII" a Bb major or hard diminished?

I admire your zeal in posting all this, but I wish your notation was a bit more systematic.

Victor.

[VicDiesel]

bII Neapolitan Sixth
IIb with flattened root and flattened fifth in a major key

bII7
In a major key, flatten the fifth of the supertonic seventh.

No really. Putting a 7 behind a chord implies raising the tonic?

Victor.

[JumpingJackFlash]

When does putting a b in front of a chord mean flatten the third, and when does it mean flatten the root? If you flatten the root, do you automatically flatten the fifth? Is "bVII" a Bb major or hard diminished?

For the purposes above, think of the Roman Numeral (and any prefixes or suffixes) as an quick-and-easy way to get the gist of a chord from a glance. - The actual descriptions in words will usually provide an exact description of the chord, but I find a Numeral can be easier to jog your memory once you know the basics.

If it helps, you can completely ignore the numeral and just go by the descriptions alone.

There is only one general assumption: Every note should belong to the diatonic Major key, or the Harmonic Minor key in use at the time. - No other chromatic notes should be assumed unless specifically stated.

I admire your zeal in posting all this, but I wish your notation was a bit more systematic.

I must admit that my notation varies, and I apologise for this. There is just no easy way with Roman Numerals to indicate things liked 'flattened third', or 'flattened fifth', without adding in a whole lot more letters that just complicate matters. Especially in a system like this forum which does not permit superscript/subscript, or numbers underneath each other like figured bass.

bII Neapolitan Sixth
IIb with flattened root and flattened fifth in a major key

bII7
In a major key, flatten the fifth of the supertonic seventh.

No really. Putting a 7 behind a chord implies raising the tonic?

I don't understand this. For this post, a 7 after a Numeral indicates a diatonic seventh. II7 is therefore an ordinary triad, built from the second note of the scale, with a diatonic seventh added above it. - In C major, this would be D, F, A, C.
Flattening the fifth gives you: D, F, Ab, C.
Flattening the root and fifth gives you: Db, F, Ab, C
In first inversion with the bass doubled, this gives: F, Ab, C, Db, F. - The Neapolitan Sixth.

[VicDiesel]

There is just no easy way with Roman Numerals to indicate things liked 'flattened third', or 'flattened fifth', without adding in a whole lot more letters that just complicate matters.

Oh? How about bII,b3,#5, meaning flatten the II giving you Db (in C), flatten the 3, giving Fbb, and sharp the 5, giving A#.

So:
rule 1: the roman numeral, with any sharps or flats in front of it gives you the root note
rule 2: other chord notes are taken from the scale
rule 3: further modifications apply to chord notes obtained from rule 2.

Victor.

[VicDiesel]

bII Neapolitan Sixth
IIb with flattened root and flattened fifth in a major key

bII7
In a major key, flatten the fifth of the supertonic seventh.

No really. Putting a 7 behind a chord implies raising the tonic?

I don't understand this. For this post, a 7 after a Numeral indicates a diatonic seventh.

Sure. But why is bII based on a flat root, and bII7 on a non-flattened root? Somehow adding the 7 changes how you interpret the root note.

Victor.