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
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.
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.
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
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
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
