![]() The rule will be as follows: for each chord of the major key, we will avoid playing the note that represents the next function. To create our rule, we will use the sequence tonic – subdominant – dominant – tonic … repeating the cycle always in that order. Therefore, in the case of C major, we will have the notes: “C” representing the tonic function, “F” representing the subdominant function and “B” representing the dominant function. ![]() These functions are, respectively: I degree (tonic), IV degree (subdominant), VII degree (leading tone). We already know that each note of the major scale has a function. I suggest that you have the scales of the modes at your side to facilitate your study on this topic. The major scale shape will be used only for the Cmaj7 the rest of the chords will have their scales according to the respective mode. ![]() We are analyzing only the notes of the C major scale, and these notes, when the chord is not C, receive a different reference from the point of view of the degrees so you will see diminished fourth, augmented fourth, etc. So don’t be alarmed when you come across an augmented fourth, for example, analyzing whether or not it should be avoided in this case. So, for this chord, we will be using the Lydian scale. This is important to highlight because, for example, the scale of the Fmaj7 chord (in this key of C) is F Lydian, not F major. When we talk about the notes to be avoided, remember that we are talking about notes that belong to the major scale of C, after all the key is C major. Let’s use the C major key as an example, remembering that these concepts apply to all other notes. We will explain in detail what each one is. Mischaracterization of the harmonic function.The reasons for avoiding a note are as follows: What are avoid notes?Īvoided notes are those you should avoid playing. This will help you when composing or reharmonizing songs, as you will know which tensions can be used in each chord and which tensions should be avoided ( avoid notes). That is, for a song that is in C major, for example, can I play the Dm6 chord? What about the FM7(9) chord? These questions will all be answered. Our study will show which of these notes can be used for each chord within the major key. These notes, when added, end up making the extended chords. Then, to conclude this subject, it is time to analyze the remaining notes (4th, 6th and 9th). So far, we’ve only used the tetrad to form a tonality (we talked about Cmaj7, Dm7, etc.). Note: the ninth is equivalent to the second degree. Notice then that there are only 3 possible degrees of tension (the fourth, the sixth and the ninth). In this case, the ninth would be called a “ tension note“, this terminology is widely used in musical theory literature.Īll notes other than the 1st, 3rd, 5th and 7th degrees will be called tension notes. If we added any notes to that chord, for example, the ninth, the chord would be: Cmaj7(9). This is the tetrad of this chord, that is, the notes C, E, G, B are the so-called “ chord notes” of Cmaj7. It is formed by the notes C, E, G, B, which correspond to degrees 1, 3, 5 and 7. Let’s take the Cmaj7 chord as an example. Remember that chord notes are those that form the triad or tetrad of the chord. Tension notes are the other notes that form a chord, in addition to the so-called chord notes (or chord tones). We can consider as extended chords those chords that have tension notes (or notes of available tension).
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