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Any
other
possibilities
will
be
some
variation
on
one
of
these
scales,
or
some
specialized
scale
that
is
associated
with
non-functional
symmetrical
structures.
IMPORTANT
POINT:
A
mode
and
a
chord
scale
are
two
different
things
that
may
share
the
same
name.
For
example:
The
Ionian
mode
is
a
major
diatonic
system
from
which
seven
chords
are
built,
with
each
having
a
tonal
function,
with
a
chord
root
attached
to
a
Roman
numeral
location.
An
Ionian
chord
scale
is
the
same
collection
of
pitches
as
the
Ionian
mode
with
an
entirely
different
singular
focus,
meaning,
and
use.
Tensions
are
the
continuation
of
stacking
thirds
beyond
the
7th
to
include
some
kind
of
9th,
11th,
and
13th.
Tensions
are
potentially
a
variable
component.
(In
the
classical
tradition,
they
are
described
as
non-harmonic
tones,
or
non-
chord
tones,
that
are
limited
to
a
melodic
or
linear
decorative
function.)
For
our
purposes,
in
popular
and
jazz
styles,
we
will
consider
tensions
to
be
extensions
of
the
chord
tones
that
color
and
supplement
the
chord
sound,
as
either
a
harmonic
or
melodic
function.
Tensions
can
be
thought
of
as
special
chord
tones.
Tensions
are
notated
and
labeled
as
follows:
Stemless
open
note
heads
under
a
common
beam
as
Tb9
on
dominant
7
chords
Position
above
Root:
half-step
T#9
on
dominant
7
chords
Position
above
Root:
aug.2nd
or
min.3rd
T9
on
any
chord
type
Position
above
Root:
whole
step
T11
on
any
chord
type
with
a
b3
Position
above
b3:
whole
step
T#11
on
major
and
dominant
7
chords
Position
above
3:
whole
step
Tb5
as
an
altered
chord
tone
on
dominant
7th
chords,
is
also
considered
a
tension.
Position
above
Root:
diminished
5th
Tb13
on
dominant
7
and
min.7(b5)
chords
Position
above
the
5
or
b5
:
half-step
or
whole
step
T13
on
major
and
dominant
7
chords
Position
above
5:
whole
step
T7
on
diminished
7th
chords
Position
above
7:
whole
step
(The
prefix
T
is
an
abbreviation
for
the
word
tension
and
is
optional
in
the
labeling.)
Harmonic
Avoid
Notes
are
diatonic
tones
that
dont
function
as
a
chord
Harmonic
avoid
notes
are
notated
and
labeled
as
follows:
Stemless
closed
note
heads
under
a
common
beam
as
(Sb2)
as
a
half-step
above
Root
or
1.
(S4)
as
a
half-step
above
3.
(Sb6)
as
a
half-step
above
5.
(S6)
as
a
tritone
with
b3.
(The
prefix
(S)
stands
for
scale
tone.)
Remember:
As
with
the
chord
tones
and
tensions,
harmonic
avoid
notes
are
always
measured
and
numbered
in
relation
to
the
chord
root
and
not
to
the
key.
Exceptions
for
Harmonic
Avoid
Notes:
b9
on
dominant
7th
chords
(diatonic
or
non-diatonic)
13
as
a
melody
note
on
a
minor
7
chord
from
a
dorian
chord
scale,
regardless
of
function.
b13
on
a
dominant
7th
chord
(either
diatonic
or
non-diatonic),
as
a
half-step
above
the
5th,
is
a
conditional
avoid
note
:
If
b13
is
present
or
desired,
then
the
5th
is
avoided,
and
vice-versa.
Other
Possible
Harmonic
Avoid
Notes:
(S3)
when
the
sus4
replaces
3
of
a
major
or
dominant
chord.
(S7)
when
6
replaces
the
7
or
b7
of
a
major
or
minor-type
chord.
(see
the
special
chord
tone
exceptions
above.)
IMPORTANT
POINT:
Harmonic
avoid
notes
are
usually
the
chord
tones
of
an
opposing
function.
For
example,
(S4)
in
a
chord
scale
for
a
tonic
I
chord
is
the
b7
of
that
chords
dominant.
Summary:
1.)
Chord
scale
names
and
terms
are
based
on
the
traditional
modal
names
of
Ionian
and
its
modal
displacements.
2.)
Chord
scales
have
three
components:
a.)
Chord
Tones
b.)
Tensions
c.)
Harmonic
avoid
notes
3.)
Chord
tones
are
fixed
and
invariable.
4.)
Tensions
are
potentially
variable.
5.)
Tensions
can
be
regarded
as
special
chord
tones.
6.)
Tensions
can
be
diatonic
or
non-diatonic.
7.)
Harmonic
avoid
notes
usually
represent
the
chord
tones
of
an
opposing
function.
8.)
Harmonic
avoid
notes
can
be
converted
into
a
non-diatonic
tension
by
chromatic
.alteration.
9.)
The
components
of
a
chord
scale
are
measured
in
relation
to
the
chord
root
and
not
to
the
key.