Expanding Your Harmonic Vocabulary : A Collection of Passing Chords

When you want to move beyond basic progressions, passing chords act as the connective tissue that creates momentum and smooth voice leading. Here is a selection of essential passing chords to integrate into your arrangements, categorized by their function.

1. The Chromatic Passing Chord (Diminished)

These are perhaps the most common and effective tools for connecting two chords a whole step apart. By using a fully diminished 7th chord (dim7) exactly halfway between the target chords, you create a "sliding" effect.

| From | Passing Chord | To |

|---|---|---|

| Cmaj7 | C#dim7 | Dm7 |

| Dm7 | D#dim7 | Em7 |

| Fmaj7 | F#dim7 | G7 |

2. The Diatonic Passing Chord (The "Stepwise" Approach)

These chords stay within the key to bridge the gap. They provide a softer, more "natural" transition without the high tension of chromaticism.

* The I - vii^\circ - vi: In the key of C, using Bdim to connect Cmaj7 to Am7.

* The IV - iv - I (Minor iv): A classic soul and jazz move. Moving from Fmaj7 to Fm6 (or Fm7) before resolving to Cmaj7.

3. Secondary Dominants

These chords "borrow" the dominant function from another key to create a temporary pull toward your destination chord.

* The V/ii: To reach Dm7 (the ii chord in C), use A7 (the dominant of D).

* The V/V: To reach G7 (the V chord in C), use D7 (the dominant of G).

4. The "Tritone Substitution"

This is an advanced technique where you replace a dominant chord with another dominant chord a tritone away, keeping the same guide tones (the 3rd and 7th).

* Example: Instead of playing G7 \to Cmaj7, play Db7 \to Cmaj7.

* Why it works: The F and B (the tritone in G7) are the same notes as the Cb (enharmonic to B) and F in Db7. It provides a smooth, descending chromatic bass line.

Summary Table: Functional Application

| Type | Harmonic Effect | Best Used For |

|---|---|---|

| Chromatic | Tension / Urgency | Quick, energetic transitions. |

| Diatonic | Smooth / Folk-like | Soft, lyrical movement. |

| Secondary Dominant | Strong Pull / Resolution | Preparing for a new section. |

| Tritone Sub | Sophisticated / Jazz | Creating a descending bass line. |