harmony-and-chords category [Page 2]

Borrowing chords from parallel modes/keys (e.g., bVII, iv). more

Modes are derived by starting the Major Scale (Ionian) from each of its seven degrees. Each mode preserves the same sequence of intervals but b... more

Major triad on ♭II in first inversion; predominant leading to V. more

Mirror intervals around an axis (e.g., between tonic and dominant) to re-map chords. more

Static bass with moving harmony above; builds tension and anchor. more

Ending a minor-key piece with a major tonic; brightens closure. more

Shared diatonic chord functions in both keys enable smooth key changes. more

IV→I ('Amen cadence'); softer resolution often after authentic cadence. more

Move chord shapes in parallel for coloristic effect; watch voice-leading clashes. more

Dyad root–fifth; no third; tight, overdrive-friendly harmony in rock/metal. more

Stacked fourths/fifths create modern, ambiguous sonorities. more

Dominant applied to scale degrees other than tonic (V/V, V/ii, etc.). more

V of a diatonic target (V/ii, V/vi) to tonicize non-tonic chords. more

Triad plus a seventh: major7, dominant7, minor7, half-diminished, fully diminished. more

Notation indicating chord over a specific bass note (e.g., C/G); can imply inversions or pedals. more

Third replaced by 2 or 4; resolves to triad or used statically in pop. more

Three-note chord built from stacked thirds: major, minor, diminished, augmented. more

Replacing V with ♭II7 (same tritone) for smooth chromatic bass and altered color. more

Major/minor triad superimposed over a dominant to target tensions (e.g., E over C7). more

Smooth motion of individual parts to minimize leaps and resolve tendency tones. more

Use °7 passing chords between diatonic targets for semitone motion. more