Stuart Smith
Tensions and chord function
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- Non-tonic beginnings
- Turnarounds
Tensions and chord functionAdding tensions to a chord does not change its function. For example, a dominant seventh chord with added ë9 +11 13 still functions as a dominant chord in its key. From the point of view of traditional harmony, the effect of tensions on chord function is such that more tensions create a greater tendency for the chord to resolve to a particular chord. In the following example, every note in the first chord except G is, in traditional theoretical terms, a “tendency tone,” that is, a tone that has a sense of being directed towards another specific tone: 
The tritone F-B resolves outward to E-C according to the usual rules for dominant seventh chords. EÓ and AÓ are both lowered notes, which exhibit a tendency to continue downward by half step to notes of the next chord. Thus, there is a strong “pull” toward the specific C chord with added 9th shown here. Whether the jazz composer, arranger, or performer respects such tendencies is a separate issue. Because of the looser treatment of dissonance in jazz, a dissonant chord has no obligation to resolve to a chord predicted by the stylistic conventions of classical music. Non-tonic beginningsMany tunes do not begin on the Tonic; however, such tunes often use chord patterns that are simply displaced versions of the Rhythm changes. I VI II V is frequently employed in a form beginning on II, so that one cycle of this pattern appears as II V I VI (The “alternate starting point” in the Rhythm changes map above illustrates this usage.) The opening four bars of the standard Gone With the Wind follow this pattern. TurnaroundsIn standard AABA , ABAC, and ABA song forms, it is generally necessary to conduct the harmony from wherever it is back to the chord with which the A section begins. This is typically accomplished with a two-measure unit called a “turnaround.” The chord progression used to support a turnaround generally follows the strong/weak alternation described above. In a typical case, a turnaround involves four chords in the prevailing harmonic rhythm. For example: 
The general pattern for a turnaround is: | Turnaround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | A . . . . | ¥ ¥ | ¥ ¥ | ¥ | Tonic Tonic-prolonging | Dominant Dominant | or Voice leading preparation In general, turnarounds end with a dominant on the weak part of the harmonic rhythm, followed by the tonic at the beginning of the A section of the piece. Download 1.17 Mb. Share with your friends:
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