Passing chord

In music, a passing chord is

a chord that connects, or passes
between, the notes of two diatonic
chords.[3] "Any chord that moves
between one diatonic chord and
another one nearby may be loosely
termed a passing chord. A diatonic Passing chord in B♭ from across
passing chord may be inserted into the circle of fifths (tritone, see a
pre-existing progression that moves also tritone substitution): B♮7 Play . by
ⓘ [1]

a major or minor third in order to

create more movement."[4] "'Inbetween chords' that help you get from one
chord to another are called passing chords."[5]
For example, in the simple chord
progression in the key of C Major,
which goes from Imaj7/iii7/ii7/V7:[4]
|Cmaj7 |Em7 |Dm7 |G7 |

the diatonic (this means "from the

scale of the tonic") passing chord
(Dm7) may be inserted:
|Cmaj7 Dm7 |Em7 |Dm7 |G7 |

or the chromatic passing chord The circle of fifths drawn within the
(Ebm7) may be inserted: chromatic circle as a star dodecagon. [2]

|Cmaj7 |Em7 Ebm7 |Dm7 |G7 |

or one or more secondary

dominants may be inserted:
|Cmaj7 B7 |Em7 A7 |Dm7 |G7 | (in this example, the B7 is the
secondary dominant of Em7 and the A7 is the secondary dominant of Dm7)

A chromatic passing chord is, "a chord that is not in the harmonized
scale"[6] For example, one or more diminished seventh chords may be
inserted:
|Cmaj7 D# dim7' |Em7 C# dim7 |Dm7 |G7 | (in this example, the
D# dim7 is the viio7 of Em7 and the C# dim7 is the viio7 of Dm7)

Passing chords may be consonant or dissonant[7] and may include flat

fifth substitution, scalewise substitution, dominant minor substitution, appr
oach chords, and bass-line-directed substitution.[5] Passing chords may be
written into a lead sheet by a composer, songwriter, or arranger.
As well, particularly in smaller ensembles, such as the organ trio or jazz
quartet, the comping (chord-playing) rhythm section instrumentalists
(e.g., jazz guitar, jazz piano, Hammond organ) may improvise passing
chords. With large ensembles, such as a big band, the comping players
may have less freedom to improvise passing chords, because the
composer/arranger may have already written in passing chords into the
written horn parts, which might clash with improvised passing chords
played by a comping musician. The freedom of comping musicians to
improvise passing chords also depends on the tempo. In a very slow ballad,
if a chord-playing musician adds in an improvised diminished chord for a
half a bar, this may "clash" with the melody notes or chords played by other
performers. On the other hand, in an extremely up-tempo (fast) bebop tune,
a comping musician could add improvised passing chords with more
freedom, because each bar goes by so fast.
See also[edit]
• Nonchord tone
• Turnaround (music)
• Blues turnaround
References[edit]
1. ^ Shanaphy and Knowlton (1990). The Do It Yourself Handbook for Keyboard Playing,
p.68. ISBN 0-943748-00-3.
2. ^ McCartin, Brian J. (1998). "Prelude to Musical Geometry", p. 364. The College
Mathematics Journal 29, no. 5 (November): 354–70. (abstract) (JSTOR).
3. ^ Wyatt and Schroeder (2002). Hal Leonard Pocket Music Theory: A Comprehensive and
Convenient Source for All Musicians, p.144. ISBN 0-634-04771-X.
4. ^ Jump up to:a b Rawlins and Bahha (2005). Jazzology: The Encyclopedia of Jazz Theory for
All Musicians, p.104. ISBN 0-634-08678-2.
5. ^ Jump up to:a b Sokolow, Fred (2002). Jazzing It Up, p.9. ISBN 0-7935-9112-0.
6. ^ Berle, Arnie (1995). Understanding Chord Progressions for Guitar: Compact Music Guides
Series, p.34. ISBN 0-8256-1488-0.
7. ^ Alfred White, William (1911). Harmony and Ear-Training, p.158. Silver, Burdett &
Company.

Further reading[edit]
• R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital
Services, Inc., ASIN: B008FRWNIW