Harmonic Vibe Dictionary

Mechanism Borrows the iv chord from C minor. The Ab in Fm creates a soft chromatic sigh (A → Ab → G) back toward the major tonic.

What moves A → Ab → G in the upper voices

Function Borrowed iv color resolving to I

Mechanism A more elegant minor iv color. The added 6 gives a torch-song quality; in some voicings it also resembles Dm7b5/F as a predominant leading home.

What moves D natural as color tone over F bass

Function Minor iv with added 6, or predominant color toward C

Mechanism Classic pop borrowed iv on the way back to I.

Function iv from parallel minor resolving to I

Mechanism Flat III borrowed from the parallel minor palette.

Function Modal mixture detour before IV or I

Mechanism Flat VI and minor iv stack borrowed minor color over a major center.

Function Borrowed bVI–iv area before return to I

Mechanism Replaces classical V–I pull with a flatter bVII–IV motion. In bright rock/folk contexts, Mixolydian is often the better label than parallel minor.

What moves B → Bb in the bass for an earthier cadence

Function bVII–IV–I instead of V–I

Mechanism A modal borrowed ascent into I. Depending on tempo and arrangement, it can feel like a power-up, anime triumph, hard-rock arrival, or mythic dark-hero moment.

Function bVI–bVII–I borrowed ladder

Mechanism Neapolitan (bII) color from the minor key palette, often with a lowered second scale degree.

Function bII approach to I

Mechanism Chain of borrowed modal chords cycling through flat-side color.

Function Modal mixture chain (I–bIII–bVII–IV)

Mechanism Uses an augmented E chord as a glossy altered dominant pointing toward Am. The upper voice often moves G → G# → A, creating a chromatic melting staircase into the relative minor.

What moves G → G# → A

Function Eaug (V+/iii) pointing toward Am

Mechanism Augmented tonic with chromatic inner voice before landing on relative minor over C bass.

What moves E → E# → F or G → G# inner lines

Function Tonic color transforming toward vi

Mechanism Classic line cliché: major tonic morphs through aug, 6, and dominant-quality before arriving at IV.

What moves Inner-voice chromatic climb on the tonic area

Function Tonic prolongation leading to IV

Mechanism Major line cliché: the third and seventh of C descend chromatically into F major.

What moves B → Bb → A over the tonic area

Function Tonic prolongation resolving to IV

Mechanism Diminished passing chord connects I to ii with chromatic bass and inner voice.

What moves C → C# bass, chromatic approach to Dm

Function Passing diminished into ii–V

Mechanism A chromatic diminished approach that briefly darkens the path into Dm7. Less about establishing a new key, more about giving the transition a noir hinge.

What moves Chromatic approach from I area to ii

Function Approach sonority before ii–V

Mechanism Descending chromatic bass under a minor tonic prolongation.

What moves A → Ab → G in the bass

Function Minor tonic prolongation with chromatic bass

Mechanism Minor tonic morphs through maj7, 7, and 6 colors with chromatic inner voice.

What moves G → G# → G → F# melodic descent

Function Minor tonic prolongation

Mechanism Parallel chromatic planing—same chord quality sliding by half-steps.

Function Nonfunctional chromatic motion

Mechanism Common-tone mediant shift with pedal C in the bass.

Function Borrowed bVI color over tonic bass

Mechanism Secondary dominant V/vi pulls directly into Am.

Function E7 → Am

Mechanism Core jazz cadence: predominant → dominant → tonic.

Function ii7 → V7 → Imaj7

Mechanism Altered dominant (b9) adds sharper pull into the major tonic.

Function ii7 → V7alt → Imaj7

Mechanism Extended ii–V–I with 9th and 13th color.

Function ii9 → V13 → Imaj9

Mechanism Minor-key iiø7–V7alt–i9 cadence.

Function iiø7 → V7alt → i9

Mechanism Db7 substitutes for G7 with tritone-shared inner voices.

Function ii7 → subV7 → I

Mechanism Resolves to I from the borrowed minor iv area instead of from V. Often heard in jazz/soul/pop as a substitute for V–I.

Function iv7 → bVII7 → Imaj7

Mechanism Extended backdoor cadence with 9th and 13th color.

Function iv9 → bVII13 → Imaj9

Mechanism Suspended dominant resolves to V then I—openness into arrival.

What moves 4–3 suspension on the dominant

Function Vsus → V → I

Mechanism Dominant pedal under IV builds pressure before V–I.

Function IV/V → V → I

Mechanism IV–V–vi in a minor context without classical major resolution.

Function IV–V–vi (Aeolian)

Mechanism Aeolian loop cycling without strong tonic arrival.

Function i–VII–VI–VII modal loop

Mechanism If D major returns to C instead of resolving to G, it reads as Lydian color. If it pushes to G, it becomes a V/V setup instead.

Function II in Lydian returning to I (not V/V)

Mechanism Lydian II color widens the sky before settling back to I via IV.

Function Lydian II prolongation

Mechanism Softer Andalusian descent ending on Em instead of E major.

Function i–VII–VI–v modal descent

Mechanism Descending bass from vi through VII and VI to V.

What moves A → G → F → E in the bass

Function i–VII–VI–V descent

Mechanism Extremely common pop bass line: stepwise motion under familiar functional chords.

What moves C → B → A → F in the bass

Function I – V/3 – vi – IV

Mechanism Ascending bass and harmonic lift toward a chorus arrival.

What moves F → G → A → B in the bass

Function IV – V – vi – V/3

Mechanism Harmonic lift withholds I until the last moment.

Function IV – V – vi – V → I delay

Mechanism Ascending bass with passing diminished push toward V and I.

What moves C → E → F → F# → G bass climb

Function Gospel-style ascending bass to V

Mechanism Pedal point on C bass creates suspension while harmonies change above.

What moves Static C bass under changing upper chords

Function Pedal I under IV and V color

Mechanism IV–V leads to vi instead of I—a deceptive emotional lift.

Function IV – V – vi deceptive motion

Mechanism I–V–vi–IV axis loop—the most common modern pop rotation.

Function I–V–vi–IV

Mechanism Same axis starting on vi for a more confessional center of gravity.

Function vi–IV–I–V

Mechanism Rotation beginning on IV keeps the tonic arrival deferred.

Function IV–I–V–vi

Mechanism Classic doo-wop rotation with sincere functional pull.

Function I–vi–IV–V

Mechanism A soaring IV–V lift that avoids landing on I, falling instead through iii into vi. Common in pop, game music, and emotional ballads—not only anime.

Function IV–V–iii–vi

Mechanism Royal road extended through ii–V–I for a complete arc.

Function IV–V–iii–vi–ii–V–I

Mechanism Axis loop with add9 color for a more open, modern pop texture.

Function Iadd9–V–vi7–IVadd9

Mechanism IV–I plagal amen cadence.

Function IV → I

Mechanism V–vi deceptive cadence withholds tonic arrival.

Function V → vi

Mechanism Classic V–I authentic cadence.

Function V → I

Mechanism In a minor-key context, ending on the major tonic turns the final minor resolution into earned light. If A major becomes the new key, read it as brightening/modulation instead.

Function Minor context resolving to major I