Chromatic Harmony

Abstract It will be recalled that roots descending in fifths create the most compellingly directed harmonic motion. Normally, as these roots progress through the diatonic degrees of a major key, a variety of major and minor triads results. The progression, ii—V—I, for instance, has a minor triad followed by two major triads. When seventh chords descend by fifths, there is even more variety in the qualities of the chords in relation to one another. However, all of these chord qualities are adjustable through the chromatic alterations of tones that can make any minor triad into a major one by raising the third of the chord by a minor second. Chromatic inflection, which often leads to unusual chords that may substitute for more basic ones, often works to emphasize a diatonic pitch, such as when 4 (perhaps as third of a major II appearing in place of the diatonic ii) lends added weight to 5 (root of the ensuing V chord). (Listen to Web audio example 11.01.) Through chromatic alteration, one might build a progression of all-major triads or all major-minor seventh chords in descending fifths, as with VIm7—IIm7—Vm7—I. (Listen to Web audio example 11.02.)