HARMONIC ANALYSIS for Scale Selection and Chord Substitution BY CURT SHELLER

BY CURT SHELLER
HARMONIC ANALYSIS for
Scale Selection and Chord
Substitution
CURT SHELLER PUBLICATIONS • WWW.CURTSHELLER.COM
C HAPTER 4
Full Diatonic
A Full Diatonic chord is defined as a chord that has its root
and species (chord type) in its harmonized chord chart. A Full
Diatonic progression can be based on a scale or mode.
Determining Tonality
Getting Started
The first thing to do for a Root Movement Analysis (RMA) is
to determine the starting tonality or key center. Once the
starting tonality has been discovered a harmonized chord
chart can be selected to identify chord functions.
The key signature can sometimes be used to determine the
starting tonality. More often the last chord or note of a song
will most likely be the tonic or I chord and the main or central
tonality. Even if the tonality cannot be determined, a
harmonic analysis can be started.
There are several clues that can be used to determine a
starting tonality.
Key Signatures
A key signature is a summary of the sharps, flats and natural
notes used in a section of music. Traditional key signatures
represent major and their relative minor keys. A key signature
can represent any scale or mode. The key signature for a mode
is typically its parallel major or minor key signature.
Start by determining the first tonal center using the clues (key
signature and/or last chord or note). Now find its harmonized
chord chart. The most common tonality is Major, comprising
a large majority of contemporary music. So start with the
Major harmonized chord chart.
Start by assigning roman numerals to the basic chords of the
progression. Ignore single beat chords and the upper partials
of chords such as ninths, elevenths and thirteenths. Ignore
alterations such as flat and sharp nines and sharp elevenths.
Familiarize yourself with both the basic triads and 4-part
chords types in each of the harmonized chord charts.
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Traditional Key Signatures
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Example One
3)
C
II
V
I
Starting with this simple, very common chord progression
and the Major and Minor Harmonized Chord Charts, we'll
take each chord one at time.
4)
Bb
III
VI7
IImaj7
5)
F
VI
II7
Vmaj7
Example One – Possible Chord Functions
We can rule out numbers 1 and 2 as at least one of the chords
do not show up in the scale chart.
Example One – Chord Progression
The first chord, a Dm7 is in both the major and minor charts.
In a major tonality it’s a II chord in the key of C, a III chord in
the key of Bb and a VI chord in the key of F. In a minor
tonality it’s a I chord in the key of D minor and a IV chord in
the key of A minor.
The second chord, G7 is found in both the major and minor
charts but only as a V chord in the key of C major or C minor.
Store this information (these two choices) away for future
reference.
The Cmaj7 chord is a I chord in the key of C major and the IV
chord in the key G major. In a minor tonality it is as a III
chord in key of A minor or a VI chord in the key of E minor. (4
choices)
Here are the possibilities using the Major and Minor
Harmonized Chord Charts.
Key
Dm7
G7
Cmaj7
1)
Dm
I
IV7
#Imaj7
2)
Am
IV
bVII7
IIImaj7
We can then rule out numbers 4 and 5 as they do not have I or
tonic chords. This leaves number three as the best choice. This
is one of the most common progressions used in
contemporary music. You will see this progression more than
any other progression, especially in jazz standards.
Key
Dm7
G7
Cmaj7
1)
Dm
I
IV7
#Imaj7
2)
Am
IV
bVII7
IIImaj7
3)
C
II
V
I
4)
Bb
III
VI7
IImaj7
5)
F
VI
II7
Vmaj7
Example One – Solution
Notating Your Analysis
Using uppercase roman numerals place a II under the Dm7, a
V under the G7 and a I under the Cmaj7. To indicate the key
place an uppercase letter before the II with a colon following
the letter to indicate the tonal center.
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Example Three
Example Three – Chord Progression
Example One – RMA Notation
Example Two
Here the G7 offers the best clue and it is functioning as a V
chord to the Cmaj7 I chord. Am7 is the VI chord in the key of
C and we see the old standby II V chords.
Example Two – Chord Progression
At first glance, this progression may appear to be either in the
key of C major or F major based on the first or last chord.
Upon further investigation, we see that the major seventh
chords function as either a I and IV chord in a major tonality
where both their root and chord type are in the chart. C major
is the only key in with both C and F function as major seventh
chords. The Dm7 is a II chord and the Em7 a III chord.
Example Two – RMA Notation
Example Three – RMA Notation
Try these Full Diatonic Major chord progressions in various
keys using the Major Harmonized Chord charts.
Amaj7
F#m7
Bm7
E7
Ebmaj7
Cm7
Fm7
Bb7
Am7
D7
Bbmaj7
E7
Cmaj7
Em7
Dm7
Fmaj7
Fmaj7
Gm7
Am7
Bbmaj7
Cm7
F7
Bbmaj7
Fm7
Bbm7
Eb7
Abmaj7
Dbmaj7
Full Diatonic Major chord progressions
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Try these Full Diatonic Minor chord progressions in various
keys using the Minor Harmonized Chord charts.
Cm7
Ebmaj7
Abmaj7
G7
Dm7b5
G7
Cm7
Fm7
F#m7b5
B7
Em7
Fm7
Abmaj7
Dbmaj7
Bm7b5
E7
Am7
Dm7
Gm7
Bbmaj7
Cm7
D7
Tune Up
Various II V I progressions modulating through
descending major tonal centers a whole step apart.
Blue Bossa
Starts full diatonic minor and modulates to Full Diatonic
major 1/2 step higher than starting tonal center.
Fly Me to the Moon
Full Diatonic Minor chord progressions
Song Examples
See the author’s book The Advanced Guide to Chord
Progressions for Guitar – Vol I for the most common Full
Diatonic chord progressions with their analysis.
A lot of folk and children's songs as well as many rock and
popular songs contain full diatonic progressions or sections
and are a good place to practice your RMA.
Here are a few examples of jazz songs with full diatonic
progressions. Many songs contain full diatonic sections. Full
diatonic is the most common harmonic principle.
Measures 1–4 VI II V I.
Sway
All of the A or first section of the song
Moondance
First section Full Diatonic Dorian. Second section is Minor
tonality
So What
Full Diatonic Dorian with half step modulation, also Dorian.
Autumn Leaves
Measures 1–4 II V I IV major.
Measures 1–4 II V I minor.
All the Things You Are
Starts off with VI II V I IV major of the key of the song.
The full diatonic progression also occurs later in the song
in a different tonality.
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