Available diatonic tensions

Available diatonic tensions - tensions. V7/II (9, b13) if...

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Remember (MEMORIZE) diatonic avail. tensions: I maj7 (9,13) II-7 (9,11) III-7 (11) IVmaj7 (9,#11,13) V7 (9,13) VI-7 (9,11) VII-7(b5)(11,b13) And secondary dom7, which as a rule take DIATONIC TENSIONS (within the key signature of the piece--follow the key signature for voice leading or chord spelling!!!): V7/III (b9, #9, b13) V7/VI (b9, #9, b13) both create the expectation to resolve to minor chords, so they have minor tensions V7/V (9,13) V7/IV (9,13) both create the expectation to resolve to major chords, so they have major
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Unformatted text preview: tensions. V7/II (9, b13) if we stay strictly diatonic to the key signature, this is what we get. However, many players and writers will use the (b9, #9, b13) sound for this chord, which prepares our ears for the minor chord to follow. When #9 is diatonic (it represents the tonic of the key), we often hear b9, but note that b9 is non-diatonic so requires an accidental, on V7/II in any key....
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This note was uploaded on 04/26/2008 for the course HARM 121 taught by Professor Wartofsky during the Spring '08 term at Berklee.

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