Exploring Chromatic Harmony in Music: Techniques and Applications

Introduction: Chromatic vs. Diatonic Chords

Using chords that are outside the diatonic scale (chromatic chords) can add a rich and complex layer of harmonics to your musical compositions. This article explores various techniques and applications of chromatic harmony, including tension and release, partial use of chord notes, modal interchange, and experimentation with secondary dominants.

Tension and Release

Chords outside the diatonic scale can create tension that enhances the resolution to chords within the diatonic scale. This technique is commonly employed in many musical genres to create dramatic and interesting harmonic progressions. Tension and release can be a powerful tool in music, adding emotional depth and creating a sense of movement and resolution.

Partial Use of Chord Notes

One can use only the scale notes from the chord that are in the diatonic scale. This method helps maintain coherence while introducing new harmonic elements.

Modal Interchange

Modal interchange involves borrowing chords from parallel modes. For example, using a chord from the minor scale while in a major key can enrich the harmonic palette. This technique adds unexpected but harmonically fitting chords that can enhance the music. A well-known example of modal interchange is the use of D7 instead of Dm in the key of C, adding an F note that is not part of the diatonic scale.

Jazz and Extended Harmony

In jazz and other styles, altered chords or extensions like 7ths, 9ths, etc., are commonly used. These chords may include notes outside the original diatonic scale but still fit the overall harmonic context. This technique allows for a broader exploration of harmonic possibilities.

Experimentation

The core of music lies in expression. Feel free to experiment with chords outside the diatonic scale and see how they fit with your melody and overall composition. This can lead to innovative and exciting musical outcomes.

The Use of Secondary Dominants

Secondary dominants are chords that are used to create a sense of progression and anticipation. In the key of C, using a D7 chord instead of Dm can create a richer sound. This can also be applied to the iii and vi chords in a different key. For example, in the key of C, using E7, G7, and A7 chords instead of the diatonic Em, Gm, and Am chords can add a different flavor to the music.

Great examples of secondary dominants usage can be found in songs like the verse of Sweet Georgia Brown, where the progression D7 - G7 - C7 is a cycle of fourths in the key of F. This can be analyzed as vi7 - ii7 - V7 - Imaj6.

Non-Diagonal Harmony and Parallel Scales

Using chords that are not part of the current diatonic scale can create a modern and exciting listening experience. This can be achieved using parallel scales.

Parallel Scales

Using the same tonic but with a different set of interval relationships, such as using the Lydian mode with a Lydian b2, can create a unique sound. This method doesn’t require all notes to be diatonic. For example, the Lydian b2 scale includes a b2, enriching the harmonic palette without breaking musical coherence.

Modal Interchange and Pitch Axis

Modal Interchange

This technique involves using chords from different modes while keeping the same key. For example, in the key of C minor, you might use the Fm7, G7, and C7 chords from the harmonic minor scale, Dorian mode, and Phrygian mode respectively. Each mode gives a different harmonic flavor, enriching the musical texture.

Pitch Axis

Pitch axis involves using inversion and transposition to create melodic shapes that are not restricted to the diatonic scale. Inversion can be vertical or horizontal, creating symmetrical melodic patterns that add depth and complexity to the music.

Chromatic Mediant Relationships

Chromatic mediant relationships involve chords whose roots are related by a major or minor third and share one common tone. This technique is used to create interesting and unexpected harmonic progressions. For example, in the key of C major, the chromatic mediants are E major, A major, E minor, and A minor.

Overall, exploring chromatic harmony can take your music to new heights. Whether through secondary dominants, parallel scales, modal interchange, or pitch axis, these techniques offer a wealth of creative possibilities. Have fun and experiment to find what works best for your music!