The Chromatic Approach Chord

Chromatic approach chords (or approach chords) are the chords located one semitone above or below the chord to be resolved, having the same structure.

For example, in the sequence Dbm7 – Dm7, the Dbm7 chord has the chromatic approach function. This type of chord usually has a short duration in the bar, serving only as a “passage” to the next chord. See the following progression:

| Dm7 G7 | Em7 A7 | Dm7 Db7 | Cmaj7 |

Adding chromatic approach chords, this progression could be:

| Dm7 Ab7 G7 Fm7 | Em7 G#7 A7 Ebm7 | Dm7 D7 Db7 Bmaj7 | Cmaj7 |

We haven’t talked about the subV7 chord (fifth degree substitute) yet, but it is worth noting here that it can be seen as a chromatic approach chord (when the chord that comes after it has the same format, for example: G#7 – A7).

However, the subV7 chord should not be seen only as a approach chord in these situations, after all it is a dominant chord that serves as a substitute for the fifth degree (V7), for the reasons that we will demonstrate in another topic. To say that it has only a chromatic function would be to limit its real meaning.

Go to: Diminished chord

Back to: Module 9