Dorian

A diatonic melody accompanied by a II– chord, or by the 2nd degree

of the key in the bass, produces a Dorian chord scale. The 6th degree is
avoided, even though it is a whole-step above the 5th, because it creates
a tritone with the 3rd of the chord. This creates a texture that suggests a
dominant function rather than subdominant. The II– chord can have 9
and/or 11 in the melody or added as tensions to a voicing.

## w œ w w
& w w w w
1 T9 b 3 T11 5 S6 b 7 1

the key in the bass, produces a Phrygian chord scale; the b 2nd and b 6th
Phrygian A diatonic melody accompanied by a III– chord, or by the 3rd degree of

degrees are avoided. A III– chord can have 11 in the melody or added as a
tension to a voicing.

# œ w w
& # w œ w w w
1 S b2 b3 T11 5 S b 6 b7 1

Lydian A diatonic melody accompanied by a IV chord, or by the 4th degree of the

chord can have 9, # 11, and/or 13 in the melody or added as tensions to a

key in the bass, produces a Lydian chord scale has no avoid notes. A IV

voicing.

## w w w w
& w w w w
1 T9 3 T# 11 5 T13 7 1

Mixolydian A diatonic melody accompanied by a V chord, or by the 5th degree of

the key in the bass, produces a Mixolydian chord scale; the 4th degree is
avoided. A V chord can have 9 and/or 13 in the melody or added as ten-
sions to a voicing.

## œ w w w w
& w w w
1 T9 3 S4 5 T13 b7 1

Sus4 V7sus4 often precedes a V7 chord and sometimes replaces it in contem-

porary practice. The chord scale sounded by V7sus4 remains Mixolydian,
but the 3rd degree is avoided. 9 and/or 13 are still the available tensions.

part 1 Diatonic Functioning Chords 