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Lecturer: Dr Stephen Cronin2511QCM Music Theory 3Chromatic chord types

- Borrowed chords (also referred to as "modal mixture") and Augmented triads- Secondary function chords- Neopolitan 6th (N6)- Augmented sixth chords

Chromatic chords are recognisable because they contain accidentals (tendency tones), i.e., notes not contained within the key. Tendency tones move in the direction of modification...flats downwards, sharps upwards.

Be careful not to mistake non-harmonic tones for a chromatic chord.

1. Borrowed chords (modal mixture)

These chords are drawn from the parallel key. Common examples are iv and -VI in major keys.

2. Secondary function chords (Secondary Dominants and Secondary Sevenths)

These chords behave as Dominant or Leading Tone chords at a secondary level, i.e., they are

not V or viiL of the key. The chords are labelled as V7/? or viiL7/? or viiÄ7/? and may resolve in

a regular or irregular resolution. For example,

3. Neopolitan Sixth

This chord is built on -II in first inversion and used as a pre-Dominant chord. For example,

4. Augmented Sixth chords (Italian, French and German sixths)

These chords are used as pre-Dominant chords and resolve to Tonic six-four or Dominant chords. Each type contains and augmented sixth (which usually resolves outwards to an octave) anda major third. The French sixth includes an augmented 4th; the German 6th includes a perfectfifth.