If you’re playing in the key of C, that’s the raw material of all the songs you’ll ever play in the key of C. Scale degrees are very important to understand because all of music is made out of those scale degrees. This is Duane and today I’d like to cover a little music theory, that is of scale degrees such as Tonic, Super-Tonic, Mediant, Sub-Dominant, Dominant, Sub-Mediant Chords. This is not very plausible when it can be enharmonically respelled to a diatonic chord.Tonic, Super-Tonic, Mediant, Sub-Dominant, Dominant, Sub-Mediant Chords This might be clear depending on what harmony follows.Įbm6/F# says the bass is not a chord tone, unless someone is seriously trying to say an augmented ninth is in the bass. This is pretty clear aurally.ĭ#m6/F# says.
The convention we are following is: chords and scales are spelled diatonically with chromatic alteration to pitches for secondary functions (harmonic function in some other key) or mode mixture.Į♭m6/G♭ essentially says: the minor subdominant in B♭ major in first inversion. If you want that chord in first inversion, with the third in the base, in slash notation, you write E♭m6/G♭.If you write that as a jazz chord with added sixth, it's E♭m6.If you want the minor subdominant rooted on Eb, the chord's third will be G♭, you spell it with a G not an F, because tertian chords are spelled in thirds.If you want a subdominant chord in that key, the root of the chord will be E♭, because the subdominant is perfect fourth above the tonic.
If the music is tonal and you want chord spellings to sensibly convey harmonic function, then spell them to make diatonic identities and mode mixing clear. So what is the rule or convention for naming the chord?
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