The document discusses tensions and chord scales in music theory. It defines tensions as extensions of a basic chord that add color and complexity. Available tensions are those that sound acceptable, while harmonic avoid tones are overly dissonant or disrupt chord function. For diatonic major key chords, available tensions are the major 9th above the root. Each diatonic chord has an associated chord scale that identifies its available tensions and harmonic avoid tones. Chromatic tensions can be added to dominant chords to increase instability and drive resolution.

1. Harmony 2
Week 3

2. Learning Outcomes
• By the end of today’s session, students will be able to:
• Understand the criteria for available tensions
• Identify tensions for all major key diatonic chords
• Understand the relationship between tensions and modes
• Add chromatic tensions to the V7 chord

3. Tensions
1. Tensions are named for their intervallic distance from the root of a
chord in close position
2. Diatonic tensions in a voicing reinforce the identity of the key

4. Imaj7
• Extend the Imaj7 chord as far as it can go diatonically in 3rds.

5. Cmaj7 (9,11,13)
• The chord symbol for the Imaj7 chord with all of the diatonic tensions
from the C major scale would be:

6. Available tensions
• Some extensions (tensions) sound either too dissonant to sound
musically attractive or disrupt the harmonic function of the chord.
• We can discover which notes these are by collapsing the chord into a
chronological scale
• Examine the intervals between each chord tone and the tension to its
immediate right – this gives us a clue as to which notes should be
avoided, and which ones are available.

7. Harmonic Avoid notes
• The 9 and the 13 sound good on the Cmaj7 chord – they’re a whole step
above a chord tone
• The 11th sounds far too dissonant to use – it’s a half step above a chord
tone.
• The 11th is also the unstable 4th degree of the scale – the note that defines
subdominant function – therefore using it would obscure the Imaj7ths
tonic function.
• So the diatonic 11th on the Imaj7 chord is called a harmonic avoid
note/tone.
• Rather than use T11 (to indicate Tension 11), we call it scale tone 4, or s4
• This means that it can be used melodically, but not stacked in a harmony.

8. C Ionian Chord Scale

9. Therefore:
• Available tensions are tensions that sound acceptable when added to
a chord voicing
• Harmonic avoid tones are diatonic tensions that sound overly
dissonant when unresolved, or disrupt the harmonic function of the
chord.
• Available tensions for diatonic chords are a major 9th (whole step)
above a chord tone in root position close voicing.

10. What is a chord scale?
• The chord scale is a theoretical device that allows us to keep track of
all the notes that agree with any chord in any given key.
• A chord scale contains the basic:
• Chord tones
• Available tensions
• Harmonic avoid notes that will work melodically, but not harmonically.

11. Imaj7 – Ionian

12. IIm7 - Dorian
• This is the chord scale for IIm7
• All of the tensions should be available – why?
• Problem: s6 creates a triton between the 3rd and the 6ths –
dominant function – so we avoid it harmonically

13. IIIm7 - Phrygain
• Two harmonic avoid notes for the IIm7 chord scale.
• Dissonance created by the sb2 and the sb6
• The sb2 also obscures the tonic function of the IIIm7 chord because
it falls on the 4th scale degree (fa) – the subdominant note
• Sb6 is do – the tonic note, so if used, it could make the IIIm7 sound
like an inversion of the Imaj7

14. IVmaj7 - Lydian
• The chord scale for IVmaj7 has three available diatonic tensions and no
avoid notes.

15. V7 - Mixolydian
• The 9 and 13 are available
• The 11th is not available as it’s a half step above the 3rd
• Also, the 11th is do, (the most stable note in the key) and therefore
would disrupt the unstable nature of the dominant chord.

16. V7sus4 - Mixolydian
• The chord scale for V7sus4 is still a Mixolydian chord scale, except the
3rd becomes avoided, as the 4th becomes a chord tone.

17. VIm7 - Aeolian
• 9 and 11 are available
• Sb6 avoided
• Sb6 is also fa – the subdominant characteristic note in the key, which
would compromise the IVm7’s tonic function.
• It would make it sound like an inversion of IVmaj7

18. VIIm7(b5) - Locrian
• We don’t like to talk about VIIm7(b5) in relation to major key chord
progressions.
• But it uses Locrian, and has the 11 and b13 available
• The Sb2 should not be used in the chord

19. Summary
• Tensions are extensions of a basic chord
• Tensions add color, richness and complexity to a chord voicing
• Diatonic tensions reinforce the sound of the key
• Available tensions sound musically acceptable when added to a chord
voicing
• In a diatonic major key progression, available diatonic tensions are a
major 9th above a chord tone

20. Chord Available Tensions Associated chord
Scale
Imaj7 9, 13 Ionian
IIm7 9, 11 Dorian
IIIm7 11 Phrygian
IVmaj7 9, #11, 13 Lydian
V7 9, 13 Mixolydian
VIm7 9, 11 Aeolian
VIIm7(b5) 11, b13 Locrian

21. Adding Chromatic Tensions to V7
• In a purely diatonic progression, only diatonic tensions will exist.
• But music is cooler and more complex than that
• The dominant chord’s job is to shake it up a little – like your alcoholic
aunty – unstable and creating an expectation of resolution
• Therefore, because it’s unstable – normal rules for available tensions
don’t necessarily apply.
• The only rule for the dominant chord is:
Any tension is possible on a dominant chord except the 11 (s4)

22. Chromatic tensions
• Adding chromatic tones as tensions to a dominant chord increases
the instability of the harmony, making the resolution more powerful
and satisfying.
• In major key progressions, chromatic tones are like “super tendency
tones” – they want to relax back to the nearest stable major scale
degree

23. Listen:

27. V7 Mixolydian (b9, #9, b13)

28. Summary
• Non-diatonic (altered or chromatic) tensions may be added to
dominant function chords
• Adding chromatic tensions to a V7 chord increases its expectation of
resolution
• The only avoid note on a dominant chord is s4
• If 5 is present in the voicing, then b13 is generally not used
• Dominants with a 13 create an expectation (but not necessity) to
resolve to a major chord
• Dominants with a b13 create an expectation (but not necessity) to
resolve to a minor chord
• All dominant chord scales will be some form of Mixolydian – i.e.
1,3,5,b7 plus tensions