Jazz Harmony Lecture Slides

(1)

Jazz Harmony

(Almost) Everything there is to know

Dr. M.Mermikides

(2)

www.scribd.com/mmermikides

(3)

99% of Jazz Harmony

• Major/minor scale and Diatonic Harmony (with extensions)

• Diatonic cycle of 5ths and the ii-V-I. Guide tones.

• Taming the V7: Secondary dominants, Tritone Substitutions, related ii chords

and extensions

• Passing Diminished Chords

• Major and Minor interchange

• The Blues I7, IV7 and inflections

• CESH Chromatically Embellished Static Harmony

• Pentatonics and hexatonics

• Modes and modal interchange (about 10)

• Sliding chords and Parallelism

• Non-triadic, upper structure and polychords

*

* results may vary

Monday, 28 February 2011

(4)

The C Major Scale and its Diatonic Harmony

©2010 Mermikides

44 &

1. The 7 notes of C Major:

I

tone

Major 3rd

Perfect 4th

II

tone

Perfect 5th

III

Major 6th

semitone

Major 7th

IV

tone

V

tone

VI

tone

VII

semitone

&

2. Triads: Root 3rd & 5th starting from each scale degree:

(These triad types occur in the same order in any major key)

'US'

'UK'

Major Triad: R, 3, 5

I

C

I

Major 2nd

ii

Dm

IIm

Minor Triad: R,

b3, 5

iii

Em

IIIm

Octave

F

IV

Diminished Triad: R,

b3, b5

V

G

V

vi

Am

VIm

viiº

Bdim

VIIº

˙

˙˙˙

(5)

Major Diatonic Harmony Practice

&

Reference: The diatonic triads and 7th chords of C Major.

'US'

'UK'

I

C

I

ii

Dm

IIm

iii

Em

IIIm

F

IV

V

G

V

vi

Am

VIm

viiº

Bdim

VIIº

&

I

I^7

Cmaj7

ii7

Dm7

IIm7

iii7

Em7

IIIm7

Fmaj7

IV^7

V7

G7

V7

VIm7

Am7

iv7

viØ

Bm7b5

VIIm7(¨5)

&

1. Find the key (add key signature), notate and analyse the following progression.

GŒ„Š7

E‹7

A‹7

D7

&

E‹7

A‹7

D7

GŒ„Š7

&

CŒ„Š7

D7

E‹7

A‹7

&

CŒ„Š7

D7

GŒ„Š7

˙˙˙

˙˙˙˙

(6)

Cycle of

5ths

C

G

D

A

Eb

F#

Gb

E

F

Bb

Ab

Db

The Cycle of 5ths

B

Am Em Bm F#m Cm D#m Ebm C#m G#m Dm Gm Fm Bbm Monday, 28 February 2011

(7)

Diatonic

Cycle of

5ths

I

V

ii

vi

iii

IV

viiº

1. Diatonic Cycle

of 5ths

©2010 Mermikides

Imaj7

V7

ii7

vi7

iii7

IVmaj7

viiø

(augmented 4th/

dimished 5th)

(8)

{

D‹7

_G7

_CŒ„Š7

D‹7

G7

CŒ„Š7

D‹7(b5)

G7

C‹7

D‹7(b5)

G7

C‹7

&

The 'guide tones' in 7th chords are the 3rd and 7th - determining much of the character of the chord.

In a ii-V-i progression the guide tones moves in a particularly elegant fashion (indicated)

Motion of 'guide' tones (3rd and 7th)

ii - V - I Voice Leading

?

&

A different voicing.

?

&

The motion is similar, but not identical in a 'minor ii-V.' The flat 5 in the ii chord is not

technically a guide tone but is included for context

Motion of 'guide' tones (3rd and 7th)

?

&

Motion of 'guide' tones (3rd and 7th)

?

ww

_ww

w

_w

ww

_ww

w

_w

ww

_ww

_b

_wwb

wwb

w

_w

ww

bb

_ww

wwb

w

_w

(9)

Diatonic

Cycle of

5ths

I

V

ii

vi

iii

IV

viiº

2.Composing with

Diatonic harmony

©2010 Mermikides

Imaj7

V7

ii7

vi7

iii7

IVmaj7

viiø

They're are no compositional 'rules'

But here are some effective mechanisms to try

I can jump to any chord ('I' as in 'one' not me)

Any chord can jump to I (or IV or V)

All other motion as indicated (dashed is less common)

End on I

Chords can be in there triadic, 7th or other form (6th, 9th, 13th,

add9 etc.)

(augmented 4th/

dimished 5th)

(10)

Secondary

Dominants

V7/V

V7/ii

V7/vi

V7/iii

C!7

G7

B7

Bø

F!7

Dm7

D7

Am7

A7

Em7

E7

I7

G7

C7

I!7

V7

ii7

vi7

iii7

IV!7

viiø

3.Secondary

Dominant 7ths

©2010 Mermikides

(11)

Secondary

Dominants

V7/V

V7/ii

V7/vi

V7/iii

C!7

G7

B7

Bø

F!7

Dm7

D7

Am7

A7

Em7

E7

I7

C7

G7

v7

Gm7

I!7

V7

ii7

vi7

iii7

IV!7

viiø

4.Secondary

Dominant 7ths Paths

©2010 Mermikides

(12)

44 &bbb

The 7 notes of the C natural minor scale:

The C Natural Minor Scale and its Diatonic Harmony

tone

_semitone

tone

_semitone

tone

&bbb

Minor Triad: R,

b3, 5

The triads in a minor key are:

Triads: Root 3rd & 5th starting from each scale degree:

Im

Cm

i

Ddim

IIº

iiº

Diminished Triad: R,

b3, b5

E¨

¨III

III

Fm

IVm

iv

v

Gm

Vm

Major Triad: R, 3, 5

VI

A¨

¨VI

VII

B¨

¨VII

&bbb

It is common in a minor key for the V chord to be changed from min7 to dom7.

So here Gm7 would become G7 eg V7 - i or iiø - V7 - i.

7th Chords: Root 3rd 5th & 7th starting from each scale degree:

The 7th chord types in a natural minor key are:

Major 7 chord: R, 3, 5, 7

Dominant 7 chord: R, 3, 5,

b7

Im

i7

Cm7

iiøØ

IIm7(¨5)

Dm7b5

¨III^7

III^7

E¨maj7

Minor 7 chord: R,

b3, 5, b7

Minor 7

b5 chord: R, b3, b5, b7

(Half diminished)

Fm7

iv7

IVm7

v7

Vm7

Gm7

VI^7

¨VI^7

A¨maj7

VII7

¨VII7

B¨7

˙

˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

˙˙˙˙

(13)

Minor Diatonic Harmony Self-test

&

Reference: The diatonic triads of A natural minor.

'US'

'UK'

Im

i

Am

Bdim

iiº

IIº

¨III

C

III

Dm

IV

iv

'US'

'UK'

Vm

Em

v

_VI

¨VIm

F

_G

VII

¨VII

Am

Im

i

Common alterations from Harmonic minor:

E

V

G©º

viiº

VIIº

&

Reference: The diatonic 7ths of A minor.

'US'

'UK'

i7

Im7

Am

Bdim

iiØ

IIm7(¨5)

C^7

¨III^7

IIImaj7

Dm7

iv7

IVm7

'UK'

'US'

Em

v7

Vm7

VI^7

¨VI^7

F

_G

VII7

¨VII7

Am

Im7

i7

Common alterations from Harmonic minor:

E7

V7

G©º7

viiº7

VIIº7

&

1. Notate, write chord names and analyse the diatonic triads of

a) sharp minor key of your choice (using a key signature)- indicate the common

alterations of the v and VII chords

&

b) flat key of your choice (using a key signature) - indicate the common

alterations of the v and VII chords

˙˙˙

#

˙˙˙˙#

˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

˙˙˙˙

˙˙˙

˙

#

˙˙˙˙#

(14)

Borrowing Chords from the Minor Scale-1

&

'US'

'UK'

I

C

I

In a major key, often chords are borrowd from the 'parallel' minor key. So in the key of C

(top stave) triads from the key of C minor may be used (bottom 2 staves)

ii

Dm

IIm

iii

Em

IIIm

F

IV

V

G

V

vi

Am

VIm

viiº

Bdim

VIIº

&

Im

Cm

i

Ddim

IIº

iiº

Common uses

E¨

¨III

III

Fm

IVm

iv

v

Gm

Vm

VI

A¨

¨VI

VII

B¨

¨VII

&

The 'Beatles' chord

The 'subdominant minor' IVm, iv

minor key

Fm

iv

major key

I

C

the bVI bVII I

'Epic'

A¨

bVI

minor key

bVII

B¨

major key

I

C

˙˙˙

b

_˙˙˙

bb

˙˙˙

b

˙˙˙

˙˙˙b

b

˙˙˙b

˙˙˙˙b

_˙˙

˙˙

_b

œœœb

˙˙˙n

(15)

Borrowing Chords from the Minor Scale-2

&

I

I^7

Cmaj7

ii7

Dm7

IIm7

iii7

Em7

IIIm7

Fmaj7

IV^7

V7

G7

V7

VIm7

Am7

iv7

viØ

Bm7b5

VIIm7(¨5)

&

Im

i7

Cm7

iiøØ7

IIm7(¨5)

Dm7b5

¨III^7

Common 7th chord uses

III^7

E¨maj7

Fm7

iv7

IVm7

v7

Vm7

Gm7

VI^7

¨VI^7

A¨maj7

VII7

¨VII7

B¨7

&

The 'subdominant minor7'

IVm7, iv7

minor key

iv7

Fm7

Imaj7

major key

Cmaj7

major key

Imaj7

The bIIImaj7 and bVImaj7

bIIImaj7

minor key

E¨maj7

bVImaj7

A¨maj7

G7

V7

major key

Cmaj7

Imaj7

&

minor key

iiøØ7

Minor to major ii-V

Dm7b5

V7

G7

major key

I^7

Cmaj7

˙˙˙˙

˙˙˙

˙

bb

b

_˙˙˙

˙

bb

_˙˙˙

˙

˙˙˙˙bb

˙˙˙˙b

˙˙˙˙bb

_˙˙

˙˙n

œœ

œœb

_b

_œœœ

œb

œ

œœœ

b

_œ

œœœn

b

ww

œœœ

œb

_œœœ

œ

˙˙˙

˙

2

(16)

What do all those numbers mean?

G7

Cmin

A7(#5)

Bbmaj7

C9

D7#9

Cmin11

E13

F7(#11)

B69

Dmaj13(#11)

(17)

CŒ„Š7

C©º7

D‹7

D©º7

E‹7

E¨º7

D‹7

D¨º7

FŒ„Š7

F©º7

C/G

F7

F©º7

C7/G

CŒ„Š7

B¨7

CŒ„Š7

F‹7

B¨7

CŒ„Š7

B¨

F

_C

FŒ„Š7

B¨Œ„Š7

_C

CŒ„Š7

B¨7(#11)

CŒ„Š7

B¨9(#11)

&

Diminished chords are often used as passing chords between chords I, ii and iii in either direction.

Imaj7

The #IVº7 chord is often used between chords IV and a 2nd inversion I chord

#Iº7

IIm7

#IIº7

IIIm7

bIIIº7

IIm7

bIIº7

Passing Diminished Chords

&

IVmaj7

#IVº7

I

IV7

#IVº7

I7

&

The bVII7 chord (borrowed from the parallel minor)

is sometimes used as a resolution to I

The bVII major triad, particularly when in proximity to a major IV chord is a very common rock device

and can be seen as being drawn from the parallel mixolydian mode.

Imaj7

_bVII7

_Imaj7

_IVm7

The bVII7 chord may also be preceded by a related II.

We could call this the 'Aeolian ii-V' as it is

drawn from the Aeolian mode and is quite common.

bVII7

Imaj7

The bVII7 chord

&

The bVII7 chord when it includes a #11 (and/or 9) is a common jazz device,

not borrowed from parallel minor but Mixolydian b13 (a melodic minor mode)

bVII

IV

I

IVmaj7

bVIImaj7

I

The bVII chord from Mixolydian

&

Imaj7

bVII7(#11)

Imaj7

bVII9(#11)

The bVII7(#11)

V V V V V V V V V V V V V V V V

V V V V V V V V

V V V V V V V V V V V V V V V V

(18)

{

D‹7

_G7

_CŒ„Š7

D‹7

_D¨7

_CŒ„Š7

D‹7

_D¨7

CŒ„Š7

A¨‹7

_D¨7

CŒ„Š7

&

Taking another look at the guide tones in the ii-V-I progression, we notice that the 3rd and 7th of the

dominant chord form a tritone interval.

Motion of 'guide' tones (3rd and 7th)

3rd

7th

_3rd

7th

_3rd

7th

Tritone Substitution

?

Root

_Root

Root

&

Since the tritone interval may be inverted. This implies that a dominant chord a tritone away

may be substituted with the guide tones maintained (with an enharmonic adjustment).

3rd

7th

3rd

7th (B-nat = Cflat)

3rd

7th

?

Root

_Root

&

Notice that the tritone substitution dominant chord now resolves down a semitone rather than a 5th,

When a 'sub V' resolves down a semitone, let's analyse it with a dashed arrow. Similarly, a min7 or

min7(b5) chord going down a semitone to a dominant chord gets a dashed bracket.

IIm7

subV7

_Imaj7

Imaj7

&

SubVs may be preceded by min7 chords a 5th above

Tritone subs often have 9ths and /or #11 intervals added. The latter sometimes written as b5.

ww

_ww

w

_w

ww

wwb

_ww

w

b

w

_w

V

(19)

I7

IV7

I7

™™

V7

IV7

I7

IV7

I7

IV7

#IVº7

I7

™™

V7

IV7

_I7

I7

VIm7

IV7

V7

I7

IIm7

V7

44 &

'Statement'

This is the very basic form based around I7, IV7 and V7. In this case I7 and IV7 are not

considered secondary dominants as they do not have the same tendency to drop down a 5th.

IV7 does not compel a resolution down a 5th and a piece can happily start and end on I7.

Consider these dominant chords as idiomatic substitutions for I and IV (ot Imaj7 and IVmaj7)

Note that the 12 bars are divided into 3 groups of 4 bars and that I, IV and V begin each group.

Basic Form

The 12- Bar Blues (Major)

&

'Restatement'

'Response'

&

The basic form is often embellished with harmonic inflections, the 'quick change', the #IVº7 and the 'turnaround'.

&

'quick change'

&

The #IVº7 raises the root

of the IV7

The 'turnaround', the last 2 bars, is a little turn

resolving the harmony back to the beginning of the form.

There are many variations, 4 of them are given below

&

V V V V V V V V V V V V V V V V

(20)

I7

IV7

I7

™™

V7

IV7

I7

IV7

I7

IV7

#IVº7

I7

™™

V7

IV7

_I7

I7

VIm7

IV7

V7

I7

IIm7

V7

44 &

'Statement'

This is the very basic form based around I7, IV7 and V7. In this case I7 and IV7 are not

considered secondary dominants as they do not have the same tendency to drop down a 5th.

IV7 does not compel a resolution down a 5th and a piece can happily start and end on I7.

Consider these dominant chords as idiomatic substitutions for I and IV (ot Imaj7 and IVmaj7)

Note that the 12 bars are divided into 3 groups of 4 bars and that I, IV and V begin each group.

Basic Form

The 12- Bar Blues (Major)

&

'Restatement'

'Response'

&

The basic form is often embellished with harmonic inflections, the 'quick change', the #IVº7 and the 'turnaround'.

&

'quick change'

&

The #IVº7 raises the root

of the IV7

The 'turnaround', the last 2 bars, is a little turn

resolving the harmony back to the beginning of the form.

There are many variations, 4 of them are given below

&

V V V V V V V V V V V V V V V V

(21)

I7

C7

F7

IV7

C7

I7

Vm7

G‹7

V7/IV

C7

F9

IV7

F©º7

#IVº7

C7

I7

E‹7(b5)

IIIm7(b5)

V7/II

A7

™™

IIm7

D‹7

G7

V7

I7

C7

VIm7

A‹7

_D‹7

IIm7

V7

G7

I7

FŒ„Š7

E‹7(b5)

A7

_D‹7

_G7

_C‹7

_F7

B¨7

IV7

B¨‹7

E¨7

A‹7

D7

A¨‹7

_D¨7

™™

IIm7

G‹7

V7

C7

F6

_D7

_G‹7

_C7

&

A 'jazz blues' takes the basic 12-bar blues form and embellishes it with secondary dominants.

Bars 9 and 10 are typically IIm7 to V7 rather than V7 to IV7.

Jazz-blues appear in many different forms and a typical example is given below.

Although not written, 7th chords are often extended to 9ths, 11ths and 13ths for added colour

&

&b

A complex jazz-blues progression is found in Charlie Parker's 'Blues For Alice'

Even though there is much embellishment of harmony, the 3 basic 4-bar divisions are

still in place (analysed below).

A jazz analysis on the remaining chords will be helpful in unravelling its complexity.

&b

V V V V V V V V V V V V V V V V

2

(22)

I7

C7

F7

IV7

C7

I7

Vm7

G‹7

V7/IV

C7

F9

IV7

F©º7

#IVº7

C7

I7

E‹7(b5)

IIIm7(b5)

V7/II

A7

™™

IIm7

D‹7

G7

V7

I7

C7

VIm7

A‹7

_D‹7

IIm7

V7

G7

I7

FŒ„Š7

E‹7(b5)

A7

_D‹7

_G7

_C‹7

_F7

B¨7

IV7

B¨‹7

E¨7

A‹7

D7

A¨‹7

_D¨7

™™

IIm7

G‹7

V7

C7

F6

_D7

_G‹7

_C7

&

A 'jazz blues' takes the basic 12-bar blues form and embellishes it with secondary dominants.

Bars 9 and 10 are typically IIm7 to V7 rather than V7 to IV7.

Jazz-blues appear in many different forms and a typical example is given below.

Although not written, 7th chords are often extended to 9ths, 11ths and 13ths for added colour

&

&b

A complex jazz-blues progression is found in Charlie Parker's 'Blues For Alice'

Even though there is much embellishment of harmony, the 3 basic 4-bar divisions are

still in place (analysed below).

A jazz analysis on the remaining chords will be helpful in unravelling its complexity.

&b

V V V V V V V V V V V V V V V V

2

(23)

CŒ„Š7

Imaj7

V7/II

A7

IIm7

D‹7

V7

IVm6

G7

IIIm7

E‹7

V7/II

A7

IIm7

D‹7

V7

G7

CŒ„Š7

Imaj7

C7

V7/IV

IVmaj7

FŒ„Š7

F‹6

E‹7

IIIm7

A7

V7/II

IIm7

D‹7

V7

G7

CŒ„Š7

Imaj7

V7/II

A7

IIm7

D‹7

V7

G7

IIIm7

E‹7

V7/II

A7

IIm7

D‹7

V7

G7

CŒ„Š7

Imaj7

C7

V7/IV

IVmaj7

FŒ„Š7

IVm6

F‹6

E‹7

IIIm7

A7

V7/II

IIm7

D‹7 G7

V7

C6

I6

E7

V7/VI

A7

V7

V7/II

D7

V7/V

G7

CŒ„Š7

Imaj7

V7/II

A7

IIm7

D‹7

V7

G7

IIIm7

E‹7

V7/II

A7

IIm7

D‹7

V7

G7

™™

CŒ„Š7

Imaj7

C7

V7/IV

IVmaj7

FŒ„Š7

IVm6

F‹6

E‹7

IIIm7

A7

V7/II

IIm7

D‹7 G7

V7

C6

I6

44 &

This is the basic form of a rhythm changes. Deviations from this form occur but usually only minimally,

through secondary dominants, passing diminished chords, tritone substitution, and related ii chords,

to the dominants (particularly on the bridge). Maj7 and 6 chords are interchanged.

This is a very important musical form to know by heart and you will recognize

it in tunes such as The Flintstones,I've Got A Rhythm (Gershwin) and Jumpin' at the Woodside (Basie)

A1

Rhythm Changes

&

A2

&

B

&

A3

&

Note that the A sections are made of I-vi-ii-V implications (bars 1-2, 3-4 and 7-8) and a move to the IV then IVm6

from the parallel minor (bars 5-6). The bridge (B section) is a series of dominant chords descending 5ths before

resolving to the original key (A 'cycle V'). As an exercise, identify with arrows all the resolving dominant chords, and

with brackets, ii-V relationships. Hunt through jazz books to find and analyse rhythm changes. Anthropology,

Oleo and Cotton Tail should get you started, and give you ideas for composition.

V V V V V V V V V V V V V V V V

A3=A2

(24)

C

C&

C6

C&

C‹

C‹&

C‹6

C‹&

C

CŒ„Š7

C7

C6

F

C

C/B

C/B¨

A‹7

F/A

C‹

C‹(Œ„Š7)

C‹7

C‹6

F9

C‹

C‹/B

C‹/B¨

C‹/A

A‹7(b5)

F9/A

&

I

There are harmonic progressions that may be described as a chord with a

chromatically altered scale degree. Below are some common examples

Minor Triad with moving 5th (5,+5,6,+5)

Major Triad with moving 5th (5,+5,6,+5)

I+

I6

I+

©2010 Mermikides

Chromatically Embellished Static Harmony

&bbb

Im

Major Triad with moving Root/7th (R,7,b7,6)

Im+

Im6

Im+

&

I

Imaj7

...similar progression with bass motion

I7

_I6

OR

IV

&

I

Minor Triad with moving Root/7th (R,7,b7,6)

Imaj7 (3rd inv.)

I7 (3rd inv.)

VIm7

_OR

IV (1st inv.)

&bbb

Im

Im(maj7)

...similar progression with bass motion

Im7

Im6

_OR

IV9

&bbb

Im

Im(maj7) (3rd inv.)

Im7 (3rd Inv.)

VIm7(b5)

OR

IV9 (1st inv.)

IV9

www

#

www

n

wwww

#

www

#

www

n

www

#

www

w

www

w

b

_www

w

_˙˙˙˙

˙˙

www

_www

_b

_www

_˙˙˙

˙

_˙˙

˙˙

www

w

www

w

n

www

w

b

˙˙˙˙

n

_˙˙˙

_˙˙

www

_n

_www

_b

_www

_n

_˙˙˙

˙

_n

_˙˙˙˙

˙

(25)

C

C&

C6

C&

C‹

C‹&

C‹6

C‹&

C

CŒ„Š7

C7

C6

F

C

C/B

C/B¨

A‹7

F/A

C‹

C‹(Œ„Š7)

C‹7

C‹6

F9

C‹

C‹/B

C‹/B¨

C‹/A

A‹7(b5)

F9/A

&

I

There are harmonic progressions that may be described as a chord with a

chromatically altered scale degree. Below are some common examples

Minor Triad with moving 5th (5,+5,6,+5)

Major Triad with moving 5th (5,+5,6,+5)

I+

I6

I+

©2010 Mermikides

Chromatically Embellished Static Harmony

&bbb

Im

Major Triad with moving Root/7th (R,7,b7,6)

Im+

Im6

Im+

&

I

Imaj7

...similar progression with bass motion

I7

_I6

OR

IV

&

I

Minor Triad with moving Root/7th (R,7,b7,6)

Imaj7 (3rd inv.)

I7 (3rd inv.)

VIm7

_OR

IV (1st inv.)

&bbb

Im

Im(maj7)

...similar progression with bass motion

Im7

Im6

_OR

IV9

&bbb

Im

Im(maj7) (3rd inv.)

Im7 (3rd Inv.)

VIm7(b5)

OR

IV9 (1st inv.)

IV9

www

#

www

n

wwww

#

www

#

www

n

www

#

www

w

www

w

www

w

b

˙˙˙˙

_˙˙

˙˙

www

_www

_b

_www

_˙˙˙

˙

_˙˙

˙˙

www

w

www

w

n

www

w

b

˙˙˙˙

n

_˙˙˙

_˙˙

www

_n

_www

_b

_www

_n

_˙˙˙

˙

_n

_˙˙˙˙

˙

(26)

The Derivation of Modes

©2010 Mermikides

44 &

The major scale has a particular pattern of tones and semitones.

I

tone

II

tone

III

semitone

IV

tone

V

tone

VI

tone

VII

semitone

&

Since these intervals are not regular, we get a different pattern, and set of scale degrees

depending from which of the 7 notes we start with. Each of these 7 starting points

gives a 'mode' of the major scale and each has its own distinct and beautiful character,

harmonic language and repertoire.

tone

Mode 1: Starting on the 1st degree: Ionian. In this case:

C Ionian (C, D, E, F, G, A, B) with degrees (R, 2, 3, 4, 5, 6, 7)

Identical, of course, to the major scale.

semitone

2. DORIAN

1. IONIAN

&

tone

Mode 2: Starting on the 2nd degree: Dorian. In this case:

D Dorian (D, E, F, G, A, B, C) with degrees (R, 2,

b3, 4, 5, 6, b7)

Natural minor with a 'sweet' and 'funky' major 6th.

semitone

&

semitone

Mode 3: Starting on the 3rd degree: Phrygian. In this case:

E Phrygian (E, F, G, A, B, C, D) with degrees (R,

b2, b3, 4, 5, b6, b7)

Natural minor with a 'sinister' and 'moorish' minor 2nd.

tone

3. PHRYGIAN

˙

(27)

The Derivation of Modes

©2010 Mermikides

44 &

The major scale has a particular pattern of tones and semitones.

I

tone

II

tone

III

semitone

IV

tone

V

tone

VI

tone

VII

semitone

&

Since these intervals are not regular, we get a different pattern, and set of scale degrees

depending from which of the 7 notes we start with. Each of these 7 starting points

gives a 'mode' of the major scale and each has its own distinct and beautiful character,

harmonic language and repertoire.

tone

Mode 1: Starting on the 1st degree: Ionian. In this case:

C Ionian (C, D, E, F, G, A, B) with degrees (R, 2, 3, 4, 5, 6, 7)

Identical, of course, to the major scale.

semitone

2. DORIAN

1. IONIAN

&

tone

Mode 2: Starting on the 2nd degree: Dorian. In this case:

D Dorian (D, E, F, G, A, B, C) with degrees (R, 2,

b3, 4, 5, 6, b7)

Natural minor with a 'sweet' and 'funky' major 6th.

semitone

&

semitone

Mode 3: Starting on the 3rd degree: Phrygian. In this case:

E Phrygian (E, F, G, A, B, C, D) with degrees (R,

b2, b3, 4, 5, b6, b7)

Natural minor with a 'sinister' and 'moorish' minor 2nd.

tone

3. PHRYGIAN

˙

&

tone

Mode 4: Starting on the 4th degree: Lydian. In this case:

F Lydian (F, G, A, B, C, D, E) with degrees (R, 2, 3,

#4, 5, 6, 7)

Major with a 'bright' and 'magical' raised (augmented) 4th.

4. LYDIAN

semitone

&

tone

Mode 5: Starting on the 5th degree: Mixolydian. In this case:

G Mixolydian (G, A, B, C, D, E, F) with degrees (R, 2, 3, 4, 5, 6,

b7)

Major with a 'bluesy' and 'majestic' flattened 7th.

semitone

5. MIXOLYDIAN

&

tone

Mode 6: Starting on the 6th degree: Aeolian. In this case:

A Aeolian (A, B, C, D, E, F, G) with degrees (R, 2,

b3, 4, 5, b6, b7)

Just like natural minor but without the alteration of the 6th and 7th

degrees as found in typical tonal harmony.

Aeolian is a 'bleak' and 'sorrowful' mode.

semitone

6. AEOLIAN

&

semitone

Mode 7: Starting on the 7th degree: Locrian. In this case:

B Aeolian (B, C, D, E, F, G, A) with degrees (R,

_{b2, b3, 4, b5, b6, b7)}

Phrygian with a flattened 5th.

Locrian's diminished quality is 'demonic' and 'twisted'.

tone

7. LOCRIAN

˙

2

(28)

&

tone

Mode 4: Starting on the 4th degree: Lydian. In this case:

F Lydian (F, G, A, B, C, D, E) with degrees (R, 2, 3,

#4, 5, 6, 7)

Major with a 'bright' and 'magical' raised (augmented) 4th.

4. LYDIAN

semitone

&

tone

Mode 5: Starting on the 5th degree: Mixolydian. In this case:

G Mixolydian (G, A, B, C, D, E, F) with degrees (R, 2, 3, 4, 5, 6,

b7)

Major with a 'bluesy' and 'majestic' flattened 7th.

semitone

5. MIXOLYDIAN

&

tone

Mode 6: Starting on the 6th degree: Aeolian. In this case:

A Aeolian (A, B, C, D, E, F, G) with degrees (R, 2,

b3, 4, 5, b6, b7)

Just like natural minor but without the alteration of the 6th and 7th

degrees as found in typical tonal harmony.

Aeolian is a 'bleak' and 'sorrowful' mode.

semitone

6. AEOLIAN

&

semitone

Mode 7: Starting on the 7th degree: Locrian. In this case:

B Aeolian (B, C, D, E, F, G, A) with degrees (R,

_{b2, b3, 4, b5, b6, b7)}

Phrygian with a flattened 5th.

Locrian's diminished quality is 'demonic' and 'twisted'.

tone

7. LOCRIAN

˙

2

(29)

&

#

Root

Let's look at the dorian mode, and choose A dorian so we can easily see its relationship

to A natural minor. Since A dorian is derived from G major (the 2nd mode of G major) we'll use

one sharp in the key signature. However A (and not G) should be considered the root, and we'll work out all scale degrees and chords with A as the root. The scale degrees are (R,2,b3,4,5,6,b7)

A Dorian Maj2 Min3

Ä

Dorian

P4 P5 ( ) Maj6

Ä

Min7 Octave

&

#

Im

Note that Dorian is different from natural minor in that it has a major 6th (not minor 6th) - in this case F# not F This is its character note. In fact it is the presence of both a minor 3rd and major 6th that gives much of Dorian's vibe.

A Dorian

Here are the triads of A Dorian , together with a ('US') roman numeral analysis.

Chords containing the character major 6th (F#) are underlined. The IIm and IV are the most common dorian modal chords (the VIº ir unstable and not commonly found)

&

#

Im7 A Dorian

And here are the 7th chords with roman numeral analysis. A very common and effective Dorian chord is the IV7, as it contains both the minor 3rd and major 6th of the mode.

Of the seventh chords IIm7, IV7 are the most often used to describe Dorian modality, but most of the other diatonic chords may be found in progressions. In addition the Im6 is chord is often used.

There are may examples of the Dorian mode in popular music here are a few: So What - Miles Davis (alternates between D Dorian and Eb Dorian)

Scarborough Fair and Drunken Sailor traditional songs,

Pink Floyd 'Another Brick in the Wall' ( D Dorian:Dm7, F, C, G Im7, bIII, bVII, IV) The classic arpeggio of 'Sine On You Crazy Diamond' (G dorian.

and most of the 'Dark Side of the Moon' album (E Dorian: Em (or Emadd9,Em7) to A7-Im to IV7) The opening riff of Lenny Kravitz' 'Always On the Run' (E dorian)

Beatles - Eleanor Rigby (Verse melody in E dorian) Joe Satriani - 'Ice 9' opening melody (C# dorian)

Loads of funk tunes: eg 'Brick House' - Commodores 'Le Freak' Chic Moondance - Van Morrison. The verses are Am Bm/A C/A Bm/A Oye Como Va - Santana (Am D7 -Im IV7)

˙

#

˙

˙˙˙

www

˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

˙˙˙˙

wwww

4 Monday, 28 February 2011

(30)

&b

Root

Now Let's look at the 3rd mode, the phrygian mode, and choose A phrygian so we can easily see its relationship to A. Since this is derived from F major (the 3rd mode of F major) we'll use one flat in the key

signature. However A (and not F) should be considered the root, and we'll work out all scale degrees and chords with F as the root. The scale degrees are (R,b2,b3,4,5,b6,b7)

A Phrygian ( ) Min2

Ä

Min3

Phrygian

P4 P5 Min6 Min7 Octave

&b

Im A Phrygian

Note that Phrygian is different from natural minor in that it has a minor 2nd (not major 2nd) - in this case Bb not B This is the character note of Phrygian which gives it its unique 'flamenco' quality.

Here are the triads of A Phrygian , together with a ('US') roman numeral analysis.

Chords containing the character minor 2nd (Bb) are underlined. The bIIm and bVIIm are the most common phrygian modal triads (the Vº if unstable and not commonly used)

A‹ bII B¨ bIII C IVm D‹ Vº Eº bVI F bVIIm G‹

&b

Im7

Here are the seventh chords of A phrygian with roman numeral analysis.

Of the seventh chords bIImaj7 and bVIIm7 are the most often used to describe Phrygian modality, but most of the other diatonic chords may be found in progressions. In additional the Im(addb9) chord is also used.

Also note that 'power chords' (chords with just roots and fifths) are found in Phrygian (and other modal) contexts. A Phrygian

There are may examples of the Phrygian mode in popular music, particularly when 'spanish' and sinister atmospheres are required. Here are a few:

White Rabbit - Jefferson Airplane. (F#5 and G5 and the notes from F# phrygian are used) Symphony of Destruction - Megadeth (the opening riff uses E5, F5 and G5 from E Phrygian) The God That Failed - Metallica (Eb5, Fb5, Gb5, Bb5 from Eb Phrygian)

War - Joe Satriani (E5 and Fmaj7(#11) from E phrygian)

A‹7 bIImaj7 B¨Œ„Š7 bIII7 C7 IVm7 D‹7 Vm7(b5) E‹7(b5) VIø7 FŒ„Š7 bVIIm7 G‹7

˙

b

˙

˙˙˙

www

˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

˙˙˙˙

wwww

(31)

&

#

Root

The 4th mode of the major scale, the Lydian mode, is often found in film soundtracks for its 'floating' and 'magical' quality. The lydian mode can be derived from C major from F to F.

If we calculate Lydian with a root of C,we can easily see how it compares to a major scale. In this case we get an F# instead of an F. Lydian is a major scale with a raised (augmented) 4th. (R, 2, 3, #4, 5, 6, 7)

C Lydian Maj2 Maj3 ( )

Lydian

#4

Ä

P5 Maj6 Maj7 Octave

&

#

I

C Lydian

Note that Lydian is different from major in that it has an augmented 4th (not perfect 4th) - in this case F# not F This is the character note of Lydian which gives it its unique 'magical' quality.

Here are the triads of C Lydian , together with a ('US') roman numeral analysis. Chords containing the character augmented 4th (F#) are underlined.

The II and VIIm are the most common

lydian modal triads (the #IVº if unstable and not commonly used)

&

#

Imaj7

Here are the seventh chords of C lydian with roman numeral analysis.

Of the seventh chords II7 (often in 3rd inv.), Vmaj7 and VIIm7 are the most often used to describe Lydian modality, but most of the other diatonic chords may be found in progressions. In addition the Imaj7(#11) chord is also used.

C Lydian

There are many examples of the Lydian mode in popular and film music, particularly when a floating and magical atmospheres are required. Here are a few moments from pop songs:

Sara - Fleetwood Mac. (Opens with F, G/F and Am/F all from F Lydian)

Man on the Moon - REM (the intro and verses use C major to Dadd11 from C Lydian)

The Simpsons theme - Danny Elfman (One of the most famous lydian melodies of all time in C Lydian-In fact some of the harmonic material implies Lydian dominant - a mode of melodic minor)

The Riddle - Steve Vai (Open in E Lydian with an A# (sharpened 4th as the opening melody note) Other examples include Blue Jay Way - The Beatles, Every Little Thing She Does is Magic - The Police, All I need - Radiohead (C Lydian) The verses of Tonight, Tonight - Smashing Pumpkins.

˙

#

˙

˙˙˙

www

˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

˙˙˙˙

wwww

(32)

&b

Root

The 5th mode of the major scale, the mixolydian mode, is often found in rock and blues.

It is also found in superficially 'eastern' influenced pop music due to its similarity with some Ragas. The mixolydian mode can be derived from C major from G to G.

If we work out a mixolydian scale with a root of C,we can easily see how it compares to a major scale. In this case we get a B-flat instead of a B, so mixolydian is a major scale with a minot (flattened) 7th. (R, 2, 3, 4, 5, 6, b7)

C Mixoydian Maj2 Maj3

Mixolydian

P4 P5 Maj6 Min7

Ä

( ) Octave

&b

I C Mixolydian

So Mixoydian is different from major in that it has a minor (not major) 7th - in this case B-flat not B

This is the character note of mixoydian which gives it its 'dominant' quality. In fact it is the combination of the major 3rd and minor 7th that sets it apart from all the other modes of the major scale.

Here are the triads of C Mixolydian , together with a ('US') roman numeral analysis. Chords containing the character minor 7th (Bb) are underlined.

The Vm and particularly the bVII are the most common mixolydian modal triads (the IIIº if unstable and not commonly used)

C II D‹ IIIº Eº IV F Vm G‹ VI A‹ bVII B¨

&b

I7

Here are the seventh chords of C mixolydian with roman numeral analysis.

Of the seventh chords I7 , Vm7 and bVIImaj7 are the most often used to describe mixoydian modality, but most of the other diatonic chords may be found in progressions, particular the IV chord.

bVII/IV/I, for example, is a common mixolydian progression.

There are countless examples of the mixolydian mode in popular music - particularly in the harmony of a track (even if melodies and solos are in minor pentationic) The bVII/IV/I sequence can be found in everything from AC/DC to Zappa.

More 'pure' examples of mixolydian (when harmony and melody are both mixolydian) include: Norwegian Wood - Beatles. (E Mixolydian)

Sweet Child of Mine - Guns and Roses and Sweet Home Alabama - Lynyrd Skynyrd (D, Cadd9, G D in verses and the notes of guitar intro are all from D mixolydian) Champagne Supernova - Oasis (A, A/G, A/F# and A/E - derived from A mixolydian) Other examples include

Led Boots - Jeff Beck,

Within You or Without You - Beatles, C Mixolydian C7 IIm7 D‹7 IIIø E‹7(b5) IVmaj7 FŒ„Š7 Vm7 G‹7 VIm7 A‹7 bVIImaj7 B¨Œ„Š7

˙

b

˙

˙˙˙

www

˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

˙˙˙˙

wwww

(33)

&

Root

The 6th mode of the major scale, the aeolian mode, is a common mode in rock and pop music when a mournful emotion is required.

The aeolian mode can be derived from C major from A to A which gives us the following scale degrees. (R, 2, b3, 4, 5, b6, b7) A Aeolian Maj2 Min3

Aeolian

P4 P5 Min6

Ä

Min7

Ä

Octave

&

I A Aeolian

You'll notice that the aeolian mode is identical to the natural minor scale.

However in a minor key, the 7th note of the scale is often changed to a leading tone (harmonic minor) which allows for V7 chord for example. The 6th degree is also sometimes changed, as in melodic minor. However the aeolian mode has a fixed minor 6th and minor 7th which gives it its particular character. Here are the triads of A Aeolian , together with a ('US') roman numeral analysis.

Chords containing the character minor 6th (F) - distinguishing it from Dorian - are underlined -

the IIº (rarely used), IVm, VI. The Vm and bVII which contain the character minor 7th (G) are also underlined.

A‹ IIº Bº III C IVm D‹ Vm E‹ VI F bVII G

&

Im7

Here are the seventh chords of A aeolian with roman numeral analysis.

All of these contain the minor 6th and minor 7th, and they are all used in aeolian progressions -although the IIm7(b5) is rare.

A Aeolian

There are many examples of the Aeolian mode in popular music - the Im/bVII/bVI/bVII sequence is common, as well as peices built around Im, IVm and Vm.

Here are a few examples of the Aeolian mode in popular music The X-Files Theme - melody in A Aeolian.

All Along the Watchtower - Jimi Hendrix

(C#m - Bm - A all from C# Aeolian - although the guitar is tuned down a semitone) Ain't No Sunshine- Bill Withers is built around Am7, Dm7 and Em7 (all from A Aeolian)

Stairway to Heaven (Led Zeppelin) outro solo has the repeated chords Am G F G from A Aeolian. The Sound of Silence (Simon and Garfunkel) is in Eb Aeolian. (with chords Im bVII bVII and III)

A‹7 IIm7(b5) B‹7(b5) bIIImaj7 CŒ„Š7 IVm7 D‹7 Vm7 E‹7 bVImaj7 FŒ„Š7 bVII7 G7

˙

˙˙˙

www

˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

_˙˙˙

˙

˙˙˙˙

wwww

(34)

Modal Interchange

(35)

&

The major pentatonic is like a major scale but without the 4th and 7th.

Note that the omitted 4th and 7th scale degrees are the ones with semitone relationships against a tonic triad,

and the source of the most harmonic motion in the major scale. With the 4th and 7th omitted, the major pentatonic

is a very neutral, singable and familiar scale.

Root

Pentatonics are hugely important scales in a wide range of musical styles.

There are many 5 note scales in use, but the two most common are the

major pentatonic and minor pentatonic and are shown below.

Maj 2nd

C major pentatonic (C D E G A) (R,2,3,5,6)

MAJOR PENTATONIC

Maj 3rd

Perfect 5th

Maj 6th

Pentatonic Scales

&

The major pentatonic has 5 modes, the most common starts on the last note (the A here) and is called

the minor pentatonic

So the notes of C major pentatonic (C D E G A) are the same as A minor pentatonic (A C D E G)

The minor pentatonic is like a natural minor (aeolian) but without the 2nd or 6th (which have

semitone relationships against a tonic minor triad) With the 2nd and 6th omitted, the minor pentatonic

is an extremely useful, effective and commonly used scale.

Root

A major pentatonic (A C D E G) (R,2,3,5,6)

Min 3rd

MINOR PENTATONIC

Perfect 4th

Perfect 5th

Min 7th

&

R

C major pentatonic

2 It is useful to compare major and minor pentatonic scales in parallel -

here is C major pentatonic side by side with C minor pentatonic.

3 Comparing Major and Minor Pentatonic

5

6 C minor pentatonic

R

b3

4

5 b7

w

œ œ œ œ œ

œ œb œ œ

œb

(36)

&

The major pentatonic is like a major scale but without the 4th and 7th.

Note that the omitted 4th and 7th scale degrees are the ones with semitone relationships against a tonic triad,

and the source of the most harmonic motion in the major scale. With the 4th and 7th omitted, the major pentatonic

is a very neutral, singable and familiar scale.

Root

Pentatonics are hugely important scales in a wide range of musical styles.

There are many 5 note scales in use, but the two most common are the

major pentatonic and minor pentatonic and are shown below.

Maj 2nd

C major pentatonic (C D E G A) (R,2,3,5,6)

MAJOR PENTATONIC

Maj 3rd

Perfect 5th

Maj 6th

Pentatonic Scales

&

The major pentatonic has 5 modes, the most common starts on the last note (the A here) and is called

the minor pentatonic

So the notes of C major pentatonic (C D E G A) are the same as A minor pentatonic (A C D E G)

The minor pentatonic is like a natural minor (aeolian) but without the 2nd or 6th (which have

semitone relationships against a tonic minor triad) With the 2nd and 6th omitted, the minor pentatonic

is an extremely useful, effective and commonly used scale.

Root

A major pentatonic (A C D E G) (R,2,3,5,6)

Min 3rd

MINOR PENTATONIC

Perfect 4th

Perfect 5th

Min 7th

&

R

C major pentatonic

2 It is useful to compare major and minor pentatonic scales in parallel -

here is C major pentatonic side by side with C minor pentatonic.

3 Comparing Major and Minor Pentatonic

5

6 C minor pentatonic

R

b3

4

5 b7

w

œ œ œ œ œ

œ œb œ œ

œb

(37)

&

The major scale has 7 modes, 3 major (ionian, lydian, mixolydian) 3 minor (dorian, phrygian and aeolian)

and 1 dimished (locrian). Interestingly the 3 major modes all contain the major pentatonic, and

only differ in terms of there 4th and 7th degrees. Similarly, the 3 minor modes all have the minor pentatonic

in common, with their 2nd and 6th degrees differing.

(Perfect 4th, Major 7th)

PENTATONIC SCALES AND THE MODES

R

2 C major pentatonic

3

5

6 &

R

C Ionian

2 3

4 5 6 7

Add 4th and 7th

C Lydian

R

(Augmented 4th, Major 7th)

2 3 #4 5 6 7

(Perfect 4th, Minor 7th)

C Mixolydian

R 2 3

4 5 6 b7

&

(major 2nd, major 6th)

R

b3

C minor pentatonic

Add 2nd and 6th

4

5 b7

&

R

C Dorian

2 b3 4 5 6

b7

C Phrygian

R

(minor 2nd, minor 6th)

b2 3 4

5 b6 b7

C Aeolian

R

(major 2nd, minor 6th)

2 3

4 5 b6 b7

œ

œ œ œ œ œ œ

œ

œ œ œ œ

# œ œ œ

œ œ œ œ œ œ

œb

œ œb œ œ

œb

œ œ œb œ œ œ

œb

œ œb œb œ œ œb

œb

œ œ œb œ œ œb

œb

2

(38)

&

The major scale has 7 modes, 3 major (ionian, lydian, mixolydian) 3 minor (dorian, phrygian and aeolian)

and 1 dimished (locrian). Interestingly the 3 major modes all contain the major pentatonic, and

only differ in terms of there 4th and 7th degrees. Similarly, the 3 minor modes all have the minor pentatonic

in common, with their 2nd and 6th degrees differing.

(Perfect 4th, Major 7th)

PENTATONIC SCALES AND THE MODES

R

2 C major pentatonic

3

5

6 &

R

C Ionian

2 3

4 5 6 7

Add 4th and 7th

C Lydian

R

(Augmented 4th, Major 7th)

2 3 #4 5 6 7

(Perfect 4th, Minor 7th)

C Mixolydian

R 2 3

4 5 6 b7

&

(major 2nd, major 6th)

R

b3

C minor pentatonic

Add 2nd and 6th

4

5 b7

&

R

C Dorian

2 b3 4 5 6

b7

C Phrygian

R

(minor 2nd, minor 6th)

b2 3 4

5 b6 b7

C Aeolian

R

(major 2nd, minor 6th)

2 3

4 5 b6 b7

œ

œ œ œ œ œ œ

œ

œ œ œ œ

# œ œ œ

œ œ œ œ œ œ

œb

œ œb œ œ

œb

œ œ œb œ œ œ

œb

œ œb œb œ œ œb

œb

œ œ œb œ œ œb

œb

2

(39)

&

The major and minor pentatonic scales may be embellished with an added note

(making 6-note - or hexatonic -scales) These added notes gives the 'blues' scale

an idiomatic bluesy quality.

The Major Blues 6-note scale is created by adding a sharpened

2nd (minor 3rd) interval between the 2rd and 3rd degree.

This gives the scale an idiomatic minor 3rd as well as major 3rd.

C Major Blues

R

Major and Minor Blues Hexatonic scale

2 #2/b3

Major Blues

3

5

6 &

The blues scales are embellished versions of their pentatonic counterpoints creating

an idiomatic bluesy quality. They might be used wherever the pentatonic scale is - as

described on page 3. So for example a progression in B minor can be melodicized with

B minor blues, a G major progression with G major blues and a Dminor7 chord with

D minor blues.

On page 1 we created a minor pentatonic scale by starting a major pentatonic

from the last scale degree. We can do the same thing to the mMajor Blues, to

create the minor blues scale. This is a minor pentatonic scale with an

idiomatic raised 4th (flattened 5th).

R

A Minor Blues

b3

4 Minor Blues

#4/b5

5 b7

œ

#

œ

#

œ

4

(40)

&

The major and minor pentatonic scales may be embellished with an added note

(making 6-note - or hexatonic -scales) These added notes gives the 'blues' scale

an idiomatic bluesy quality.

The Major Blues 6-note scale is created by adding a sharpened

2nd (minor 3rd) interval between the 2rd and 3rd degree.

This gives the scale an idiomatic minor 3rd as well as major 3rd.

C Major Blues

R

Major and Minor Blues Hexatonic scale

2 #2/b3

Major Blues

3

5

6 &

The blues scales are embellished versions of their pentatonic counterpoints creating

an idiomatic bluesy quality. They might be used wherever the pentatonic scale is - as

described on page 3. So for example a progression in B minor can be melodicized with

B minor blues, a G major progression with G major blues and a Dminor7 chord with

D minor blues.

On page 1 we created a minor pentatonic scale by starting a major pentatonic

from the last scale degree. We can do the same thing to the mMajor Blues, to

create the minor blues scale. This is a minor pentatonic scale with an

idiomatic raised 4th (flattened 5th).

R

A Minor Blues

b3

4 Minor Blues

#4/b5

5 b7

œ

#

œ

#

œ

4

(41)

E G A B D B

G5 B¨5 C5 G5 B¨5 D¨5 C5 G5 B¨5 C5 B¨5 G5

G F© F E

&

####

'Knock on Wood' Floyd/Cropper

Parallel Major chords on an E minor pentatonic scale

Some harmonic progressions include one chord type (usually a 5, major triad or dom7 chord) that is moved in a 'block' to create non-diatonic progressions. Often this can be best explained as the 'block' harmonisation of a scale - often pentatonic -(regardless of diatonicism)

Here are some examples.

POWER CHORDS ON A MINOR BLUES SCALE

MAJOR CHORDS on MINOR PENTATONIC

Parallelism

&bb

'Smoke on the Water' Deep Purple

Parallel Power chords (inverted root and 5th) outlining part of a G minor blues scale.