Chord

ScalesLinear Representations Of Vertical Structures

Objectives:
Distinguish the difference between chord tones, tensions, and harmonic avoid
notes as components of a chord scale.
Notate and label the components of a chord scale.
Identify diatonic and non-diatonic tensions.
Verify T, SD, and D functions.

Introduction:

As the heading of this lesson states, a chord scale is a linear (or scale) representation
of a vertical structure. Despite historical claims that chord scale theory and usage
traces back to some late Romantic-era composers, the wide spread codification and
usage of chord scales didnt begin to take place until the 1960s in the United States.
Unlike earlier claims, chord scales, as we know them today, are exclusively
identified as an influential basis of contemporary jazz and popular music education.

The purpose and use of chord scales is often a subject of debate among musicians.
While the point of this lesson is not to resolve such questions, the following list
identifies their intended uses:

Arranging
Composing
Ear Training
Instrumental technique
Improvisation



Chord Scale Names and Terms:

The first characteristic to establish is the terminology for naming and identifying
chord scales. The vast majority of chord scales derive their names and content from
the traditional modes associated with Ionian and its relative displacements.

Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian

Any other possibilities will be some variation on one of these scales, or some
specialized scale that is associated with non-functional symmetrical structures.

IMPORTANT POINT: A mode and a chord scale are two different things that may
share the same name. For example:

The Ionian mode is a major diatonic system from which seven chords are built, with
each having a tonal function, with a chord root attached to a Roman numeral
location.

An Ionian chord scale is the same collection of pitches as the Ionian mode with an
entirely different singular focus, meaning, and use.

Chord Scale Notation

(Chord Tones, Tensions, Harmonic Avoid Notes):

There are only three components to a chord scale:

Chord Tones are the result of stacking pitches in thirds from a designated
Root, up to and including the 7th. They are the most important component in a chord
scale.

Chord tones are always fixed and invariable.

Without chord tones, you cant have a chord scale.

Chord tones are notated and labeled as follows:

Open note heads stemmed under a common beam as
1 or Root (R)
b3 for minor and diminished structures
3 for major and augmented structures
b5 for diminished structures and some dominant 7 chords
5 for major and minor structures
#5 for augmented structures
o7 for diminished 7 chords
b7 for 7, min. 7, min.7(b5), and +7 chords
7 for maj.7, min.(maj7), and maj7(#5) chords

Special Chord Tone Exceptions:
Sus4 replaces 3 on major structures, especially dominant 7th chords
6 replaces b7 or 7 on major and minor structures, but not on dominant
7 chords.

Tensions are the continuation of stacking thirds beyond the 7th to include some
kind of 9th, 11th, and 13th.

Tensions are potentially a variable component.

(In the classical tradition, they are described as non-harmonic tones, or non-
chord tones, that are limited to a melodic or linear decorative function.)

For our purposes, in popular and jazz styles, we will consider tensions to be
extensions of the chord tones that color and supplement the chord sound, as either a
harmonic or melodic function. Tensions can be thought of as special chord tones.

Tensions are notated and labeled as follows:

Stemless open note heads under a common beam as
Tb9 on dominant 7 chords
Position above Root: half-step
T#9 on dominant 7 chords
Position above Root: aug.2nd or min.3rd
T9 on any chord type
Position above Root: whole step
T11 on any chord type with a b3
Position above b3: whole step
T#11 on major and dominant 7 chords
Position above 3: whole step
Tb5 as an altered chord tone on dominant 7th chords,
is also considered a tension.
Position above Root: diminished 5th
Tb13 on dominant 7 and min.7(b5) chords
Position above the 5 or b5 : half-step or whole step
T13 on major and dominant 7 chords
Position above 5: whole step
T7 on diminished 7th chords
Position above 7: whole step

(The prefix T is an abbreviation for the word tension and is optional in the labeling.)

Tensions fall into one of two categories:

Diatonic Tensions

Nondiatonic Tensions


Diatonic Tensions:

are derived from the prevailing key.
maintain the diatonic or diatonically-related function of the chord.
represent chord tones of the next diatonic chord located a step above,
or the chord tones of an expected resolution, depending on the chord type and
function.
can become nondiatonic through chromatic alteration.



Nondiatonic Tensions:

are not key-related.
are created by the chromatic alteration of diatonic tensions or harmonic avoid
notes.
can also be taken from, and may imply, a key-of-the-moment (tonal interchange).
may be found in combination with diatonic tensions and other non-diatonic
tensions.

Harmonic Avoid Notes are diatonic tones that dont function as a chord

tone or a tension in a specific chord.

They are limited to melodic use and are often found in melodies as some type of
decorative approach function, such as a passing tone, neighbor tone, etc


Harmonic avoid notes are identified as any pitch in the chord scale that:

creates a half-step above a Root, 3rd, or 5th.
creates an unwanted tritone.


Harmonic avoid notes are notated and labeled as follows:

Stemless closed note heads under a common beam as

(Sb2) as a half-step above Root or 1.
(S4) as a half-step above 3.
(Sb6) as a half-step above 5.
(S6) as a tritone with b3.

(The prefix (S) stands for scale tone.)

Remember: As with the chord tones and tensions, harmonic avoid notes are always
measured and numbered in relation to the chord root and not to the key.



Exceptions for Harmonic Avoid Notes:

b9 on dominant 7th chords (diatonic or non-diatonic)
13 as a melody note on a minor 7 chord from a dorian chord scale, regardless of
function.
b13 on a dominant 7th chord (either diatonic or non-diatonic), as a half-step above
the 5th, is a conditional avoid note :
If b13 is present or desired, then the 5th is avoided, and vice-versa.


Other Possible Harmonic Avoid Notes:

(S3) when the sus4 replaces 3 of a major or dominant chord.
(S7) when 6 replaces the 7 or b7 of a major or minor-type chord.
(see the special chord tone exceptions above.)


IMPORTANT POINT:

Harmonic avoid notes are usually the chord tones of an opposing function. For
example, (S4) in a chord scale for a tonic I chord is the b7 of that chords dominant.


Summary:

1.) Chord scale names and terms are based on the traditional modal names of Ionian
and its modal displacements.
2.) Chord scales have three components:

a.) Chord Tones

b.) Tensions

c.) Harmonic avoid notes
3.) Chord tones are fixed and invariable.
4.) Tensions are potentially variable.
5.) Tensions can be regarded as special chord tones.
6.) Tensions can be diatonic or non-diatonic.
7.) Harmonic avoid notes usually represent the chord tones of an opposing function.
8.) Harmonic avoid notes can be converted into a non-diatonic tension by chromatic
.alteration.
9.) The components of a chord scale are measured in relation to the chord root and
not to the key.