major tonic family of colors

Ah, the harmonic realm of tonal stability within the major tonality. Initially defined by the major 3rd and major 7th of it's interval structure, the major tonic family of colors provide a vast array of harmonic choices, all of which will basically function as a tonic chord. Thus they provide as sense of tonal center and tonal stability, define a key center and are the release component of the tension / release dynamic, the artistic and emotional motor of much of the music we love.

Here is a quick review of the numbers from the tonic color tone spelling page, created from the root pitch C. Cool with the numbers? Example1.

Such coolness of color tone variety in the tonic colors eh? So, any of these colors will function in a tonic capacity? Yep, pretty much, although artists often shape their tonic colors in regards to the style they are creating. So which American styles use what tonic color tones? Is there a solid relationship between color tones and musical style?

In theory, tonic type chords are initially built on the first scale degree of the sequence, group of pitches or scale / mode that establishes the key of the music we're performing. Let's spell out the pitches of the C major scale and it's arpeggio and illustrate these ideas. Example 1a.

Cool with how a scale becomes an arpeggio? As highlighted in the above chart, it is the quality of the third and seventh within a chord that determines it's family. Let's spell out a C major seventh chord and examine the quality of it's third and seventh. Example 1b.

The third E is a major third above the root C. The seventh of our chord B, is a major seventh above our root, C. Of the seven possible diatonic positions within the major tonality created by the major scale, are there other diatonic chords that are part of this tonic family? Yes there is, the major 7th chord built on the fourth scale degree, the Four chord or subdominant, has the same intervalic structure as the One chord. Compare the intervals and pitches. Example 1c.

Same exact intervalic construction of both chords. With blocks of major an minor thirds we can stack the intervals thus. Example 1d.

So, regardless of the root we choose, by creating the chord using the above intervalic structure, a tonic family chord in the major tonality is created. Here is the sound of the above One and Four major 7th chords in action. Example 1e.

Sound familiar? Motion from One to Four is as elemental yet essential as it gets, in blues, rock, folk music etc. The third chord of the above musical idea is a One major 9 chord, a common tonic type coloring. Are you hip to where the 9th comes from? Do we simply continue the original major third / minor third interval cycle used to create the major 7th chord type to extend it's arpeggio? Exactly. Here's a chart to help locate the 9th chord degree. Example 1f.

Can you see from the above illustration where the major ninth would come from within the arpeggio? Easy enough huh? The 11th and 13th? The 15th? Are all of these pitches available to color tonic chords? Yep, but lest we forget about the power of style eh? Beautiful tonic colors are the C major 7 and the major 9 yes? Perhaps a bit more adventuresome sonority is oftentimes termed the C major 9 # 11. Extending our search upward in the arpeggio we can now include the thirteenth, A, which when combined with our triad, C, E, G, the major 7th (B), the major 9th (D) and the #11 (F#), produces a sound which is broad but restive? Can we cap this C maj 9 #11 / 13 giant with the 15th? We'll soon see. Beyond 15...? Hear the gradual expanding of colors of tonic function harmony in the following idea, using the pitch C as the common root for all of the voicings included. Example 2.

Hear any new tonic sounds you can use in your music? Experiment with these sounds on your instrument as well as at the piano. Use the sustain pedal to help you build these wonderful tonic colors. Is this the limit of tonic chord choices. Well yes and no. Yes in that in most styles of American music, building chords up through the 13th degree is about the max. The #15 is very used very rarely if at all. And no, in that there are some important ways we can shape any of the tonic chord colors available. Let's explore.

1) That the arrangement of pitches, i.e. the voicing of chords, are basically left to the artist's discretion, unless otherwise directed by the written music / composer etc. Here are a couple of common voicings for the major seventh color. Example 3.

Using different configurations of the basic pitches of the major 7th chord type can effect the overall color while the "quality" of the chord remains unchanged. This is helpful when harmonizing different melody pitches while using tonic type chords.

2) That by using different inversions of the basic major 7th chord, we can create some interesting "tonic moods" if you will. Example 4.

We oftentimes use inversions when we want to create a sense of rest in the music, but not totally at rest, oftentimes saving root position tonic chords for when a stronger sense of being at rest or tonal stability is needed.

3) That stacking perfect fourths above the root produces some beautiful colors. Chords built thus are oftentimes referred to as quartile harmony. Here is a chart spelling out some of the diatonic possibilities. Example 5.

Here is the sound of the above tonic 6 / 9 chords. Example 5a.

Nice colors huh? Guitar players tend to love the 6 / 9 chords due to their cool sounds and "easier?" fingering shapes. Pour moi, the quartile colors are crucial in providing a nice bright and colorful tonic chord shape that can support the tonic pitch as it's melody.

4) That the eleventh ( 11th ) scale degree of our tonic family arpeggio is oftentimes raised a half step becoming what is commonly known as the sharp eleventh (#11). We do this usually to avoid the tonal conflict which would be created if the natural eleventh, F, was used simultaneously with the major third E, in a tonic type chord whose root is C. Compare the two choices. Example 6.

Well? Maybe it's the voicings man? No, pairing the major 3rd E and the natural 11 F, as in the above chord, is too dissonant for tonic stability in that the interval between these pitches is a minor 9th. Both are reasonably strong pitches within the major scale, so neither wants to give in I guess. In theory, we must have the major third to create the proper triad quality, so the 11th goes up by half step to #11.

Ever use the natural 11 down an octave as the fourth? Here is the sound. Example 6a.

This 4 / natural 11 is very common. Rockers love this color for it's essentially "epic" quality. The "sus 4" is also commonly used with dominant harmony. And in reality, any of the pitches of any chord can be altered any way one chooses. What is presented here and on the pages linked at the bottom, are the more common and widely used chord colors. Particular styles of music are dependent on particular chordal colors. For instance, rarely if ever is a major seventh chord color used in a blues tune. Blues music is based on the dominant seventh coloring. So, simply alter pitches and chords as your ears and artistic statement directs, i.e., explore the theory and experiment with the elements.

5) The sharp fifteenth, which in this case is C#, is the next "correct" sounding pitch in the arpeggio and is wonderful as the closing arpeggio phrase of an arrangement in the major tonality, here's the magic. Compare with the natural 15th. Example 7.

Have a preference? Chords built up to this level are very rare in American music, but it's nice to consider the options eh? Curious about this? Try it out on your instrument. What's above the sharp 15th? For further discussion and extensions of this arpeggio see overtone series experiment.

Here are a few more tonic chord type voicings and arpeggios based on the above ideas. All of the following shapes will function well in a Tonic ( I maj 7 ) or Four chord ( IV maj 7 ) capacity, when working in the major tonal environment, or the Three and Six chords in the natural minor world. Although we’ll use the key of C major as the root pitch for all of the examples which follow, the labels identifying each of the voicings substitute the upper case number one ( I ) for the letter C, creating a more "chord type" approach to labeling the harmonies. Try recombining the pitches of the chords, creating different voicings of that particular color.

If this idea of chord type is perhaps a new one in regards to your own sound and approach, remember there is really no right or wrong, just what works or does not work, in creating your artistic statement. So, survey the colors and if you hear something you dig, simply isolate that color and study its interval construction, run it through the 12 keys and its yours forever! Example 8.

Well, where are we going to put our new colors? How about experimenting with your favorite tonic colors to jazz up songs you already know. Simply substitute in your tonic chord choice for the written chord, i.e., perhaps try a major seventh or major ninth chord where a basic major triad is used. Example 9.

In Bb major. Example 10.

Check out modern chord progressions to see some of these colors in action.

So what if the root of the chord is not the pitch C? Then what? Better click here to get the info from there if needed to solve this conundrum. The other two families of chords? Pick and click and off ya go!

Ah, but a person's reach should exceed their grasp, or what's a heaven for? Robert Browning