and spice up your music by adding unexpected twists to harmonic progressions. These chords use notes outside the key, creating tension and color that can evoke strong emotions in listeners.
Understanding these chords opens up a world of expressive possibilities in your compositions. By strategically using chromatic mediants and altered chords, you can create drama, surprise, and emotional depth in your music, taking it beyond basic diatonic harmony.
Chromatic mediants and altered chords
Defining chromatic mediants and altered chords
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Chromatic mediants are chords whose roots are a third away from the tonic, but one of the notes is chromatically altered, creating a striking effect that departs from the diatonic scale
Altered chords include one or more notes that are not found in the key signature, often through the use of accidentals
Chromatic mediants and altered chords expand the harmonic vocabulary beyond the diatonic chords, allowing for more expressive and emotionally charged progressions
Common chromatic mediants include the bVI (Ab major in C major), bIII (Eb major in C major), and #iv° chords
Frequently used altered chords include the (bII6), (It6, Fr6, Ger6), and
The role of chromatic mediants and altered chords in chromatic harmony
Chromatic mediants and altered chords are used to add color, variety, and drama to harmonic progressions
These chords create tension, instability, and a sense of movement away from the tonic
They are essential elements of chromatic harmony, which is characterized by the use of non-diatonic tones and chords
Chromatic mediants and altered chords can evoke various emotions, such as longing, nostalgia, yearning, or despair
The strategic use of these chords supports the desired mood or narrative of a musical piece
Identifying chromatic harmony
Recognizing chromatic mediants
Chromatic mediants can be identified by their root being a third away from the tonic and the presence of a chromatically altered note
Examples of chromatic mediants include the bVI (Ab major in C major) or the bIII (Eb major in C major)
Pay attention to the chord qualities and scale degrees to accurately identify chromatic mediants
Spotting altered chords
Altered chords can be spotted by the presence of accidentals that are not found in the key signature
Examples include the raised 4th scale degree in a secondary dominant (D7 in C major) or the lowered 2nd scale degree in a Neapolitan sixth chord (Db major in C minor)
Augmented sixth chords (It6, Fr6, Ger6) feature a raised 4th scale degree and a lowered 6th scale degree, creating an augmented sixth interval
When analyzing musical examples, look for unusual chord qualities and accidentals to identify altered chords
Composing with chromatic harmony
Using chromatic mediants for expressive purposes
Chromatic mediants can create moments of surprise, drama, or emotional intensity in a progression
Moving from I to bVI can evoke a sense of longing or nostalgia
Consider the emotional and expressive goals of the piece when incorporating chromatic mediants
Incorporating altered chords for tension and resolution
Altered chords add tension and resolution to a progression
A Neapolitan sixth chord (bII6) can create a sense of yearning or despair before resolving to the dominant chord
Secondary dominants can tonicize a chord momentarily, creating a brief departure from the main key and adding interest
Augmented sixth chords create a strong pull towards the dominant, heightening tension and anticipation before the resolution
Use altered chords strategically to support the desired mood or narrative of the composition
Analyzing chromatic harmony
Examining chromatic voice leading
Chromatic mediants often involve chromatic voice leading, with one or more voices moving by semitone to create a smooth connection between chords
Analyze how the individual voices move to understand the chromatic relationships between the chords
Pay attention to the voice leading when examining the use of chromatic mediants in musical contexts
Understanding the resolution of altered chords
Altered chords typically resolve to a more stable chord, often the dominant or the tonic
Examine how the altered notes are resolved in the subsequent chord, focusing on the voice leading
Neapolitan sixth chords (bII6) usually resolve to the dominant chord, with the lowered 2nd scale degree moving down by semitone to the leading tone
Augmented sixth chords (It6, Fr6, Ger6) resolve to the dominant chord, with the raised 4th scale degree moving up to the 5th and the lowered 6th scale degree moving down to the 5th
Secondary dominants resolve to the chord a fifth below, temporarily tonicizing that chord
Consider the harmonic context, key relationships, and emotional impact when analyzing the resolution of altered chords