Harmonic Analysis - Common Chord Progressions

Tonic – is the first scale degree / chord of a Diatonic scale (the first note of a scale) and the tonal center or final resolution chord of Tonic/Dominant harmony.

V of IV Partial Diatonic — A Secondary Dominant is a seventh chord that is functioning as a dominant in the tonality, and is NOT the main dominant. A Secondary Dominant resolves to a temporary tonic chord that is part of the original key, a Full Diatonic chord to the key. A Secondary Dominant is also often used to smoothly modulate to a different tonality. .

True Diminished chord, usually a linking chord between the I and II .

Or ♭II°7 is not a true Diminished chord.

It's actually a V of VI , a disguised Secondary Dominant chord, a VI7b9 . A Secondary Dominant is a seventh chord that is functioning as a dominant in the tonality, and is NOT the main dominant. A Secondary Dominant resolves to a temporary tonic chord that is part of the original key, a Full Diatonic chord to the key. A Secondary Dominant is also often used to smoothly modulate to a different tonality. .

A notational shortcut vs. using the correct slash chord notation. Example: C♯°7 vs. A7♭9/C♯ . This can often be a publisher's marketing decision based on the perceived ability and level of their intended customers. Or, I think they just don't have good music editors.

An Enharmonic Equivalent ♯I°7 the above.

A V of V, a Secondary Dominant is a seventh chord that is functioning as a dominant in the tonality, and is NOT the main dominant. A Secondary Dominant resolves to a temporary tonic chord that is part of the original key, a Full Diatonic chord to the key. A Secondary Dominant is also often used to smoothly modulate to a different tonality. — A tritone sub for V , Usually precedes the I , a common Chromatic harmonic move.

Supertonic – functions as the subdominant of I , replacement substitute for IV .

V of V — A Secondary Dominant is a seventh chord that is functioning as a dominant in the tonality, and is NOT the main dominant. A Secondary Dominant resolves to a temporary tonic chord that is part of the original key, a Full Diatonic chord to the key. A Secondary Dominant is also often used to smoothly modulate to a different tonality. .

Not a true Diminished chord. A VII7b9 , a disguised V of III Secondary Dominant . A notational shortcut vs. using the correct slash chord notation. Example: D♯°7 vs. B7♭9/D♯ .

An Enharmonic Equivalent ♯I°7 above.

A Minor Third Substitution , A tritone sub for VI , Usually precedes the II , a common Chromatic harmonic move.

Mediant – a replacement substitute for I .

V of VI — A Secondary Dominant is a seventh chord that is functioning as a dominant in the tonality, and is NOT the main dominant. A Secondary Dominant resolves to a temporary tonic chord that is part of the original key, a Full Diatonic chord to the key. A Secondary Dominant is also often used to smoothly modulate to a different tonality.

Subdominant

m7 or m6 – The II of the bVII7 bVII7 . A Minor Third Substitution for a V chord. Or, typically a mis-named ninth chord a fourth up or fifth below.

Partial Diatonic chord found in a Blues progression.

Not a true Diminished chord. A II7b9 , a disguised V of VI Secondary Dominant . A notational shortcut vs. using the correct slash chord notation. Example: F♯°7 vs. E7♭9/G♯ .

An Enharmonic Equivalent ♯IV°7 above.

Dominant

The II of the V of IV .

Not a true Diminished chord. A II7b9 , a disguised V of V Secondary Dominant . A notational shortcut vs. using the correct slash chord notation. Example: G♯°7 vs. D7♭9/C♯ .

Substitute for IV usually leads to V .

Submediant — Full Diatonic.

A Minor Third Substitution . A sub for V leading back to a I . Typically used as IVm7 bVII7 to the I — coming back to the tonic using the backdoor and not via the dominant, front door, V .

Leading Tone — substitute for V , often follows I or occurs between III and II .