I - Les fonctions harmoniques

I.4 - Les cadences primaires

I.4.1 - La cadence parfaite en majeur

Dans l'harmonie jazz on utilise l'harmonie à quatre sons. Historiquement, l'ajout de la septième ne s'est pas fait tout de suite. En effet la sensible est une tension forte ; en l'insérant dans l'accord I, on considérait que l'accord perdait sa stabilité et donc sa fonction de tonique.

Avec le premier renversement de l'accord du degré VI avec sa septième, on retrouve le degré I avec l'ajout d'une sixte, noté I6. L'ajout de la sixte lui procure une plus grande sensation de stabilité qu'avec l'ajout de la sensible.

C ['P5','7','V7','D'],['P1','6','I6','T']

On colore la sixte de l'accord de tonique en vert. Notez que la quinte s'y trouve aussi.

Q:1/1=40 %%player_no_voice %%piano3+2CD K:C [V:C] "G7"x | "C6" x || "G7"x | "C6"x |] [V:D] "V7"x | "I6"x || "V7"x | "I6"x |] [V:1] x | x || G | G |] [V:2] !g>(!G | !g>)!!green!A || x | x |] [V:3] !orange!!o>(!F | !o>)!E || !g>(!!red!B, | !g>)!!green!A, |] [V:4] !n>(!!red!B, | !n>)!G, || !orange!!o>(!F, | !o>)!E, |] [V:5] G, | C, || G,, | C, |]

En ajoutant une 9e aux deux accords (en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD K:C [V:C] "G7,9"x | "C6,9" x || "G7,9"x | "C6,9"x || "G7,b9"x | "C6,9" x || "G7,b9"x | "C6,9"x |] [V:D] "V7"x | "I6"x || "V7"x | "I6"x || "V7"x | "I6"x || "V7"x | "I6"x |] [V:1] !n>(!d | !n>)!!green!d || !green!!n>(!A | !n>)!G || !n>(!d | !n>)!!green!d || !green!!n>(!_A | !n>)!G |] [V:2] !n>(!!green!A | !n>)!A || !n>(!D | !n>)!!green!D || !n>(!!green!_A | !n>)!=A || !n>(!D | !n>)!!green!D |] [V:3] !orange!F | E || !red!B, | A, || !orange!F | E || !red!B, | A, |] [V:4] !red!B, | G, || !orange!F, | E, || !red!B, | G, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, || G, | C, || G,, | C, |]

En ajoutant une 9e et une 13e à l'accord de dominante :

Q:1/1=40 %%player_no_voice %%piano3+2CD K:C [V:C] "G7,b9,13"x | "C6,9" x || "G7,9,b13"x | "C6,9"x |] [V:D] "V7"x | "I6"x || "V7"x | "I6"x |] [V:1] !green!!n>(!e | !n>)!!green!d || !n>(!!green!A | !n>)!G |] [V:2] !n>(!!green!_A | !n>)!A || !n>(!!green!_E | !n>)!!green!D |] [V:3] !orange!F | E || !red!B, | A, |] [V:4] !red!B, | G, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, |]

Après l'acceptation de la sixte dans l'accord de tonique I, on a commencé à introduire sa septième, la sensible. Dans l'enchaînement V-I, elle reste en place et ne se résoud pas sur la tonique. Rappel pour l'acceptation de la sensible voir : Harmonisation à quatre sons.

C ['P5','7','V7','D'],['P1','M7','IM7','Ts']
Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "G7"x | "CM7"x || "G7"x | "CM7"x |] [V:D] "V7"x | "IM7"x || "V7"x | "IM7"x |] [V:1] !n>(!G | !n>)!G || !n>(!G | !n>)!G |] [V:2] !o>(!!orange!F | !o>)!E || !red!!n>(!B, | !red!!n>)!B, |] [V:3] x | x || x | x |] [V:4] !red!!n>(!B, | !red!!n>)!B, || !o>(!!orange!F, | !o>)!E, |] [V:5] G, | C, || G,, | C, |]

En remplaçant la doublure de la fondamentale de l'accord de dominante par sa 9e (en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "G7,9"x | "CM7"x || "G7,9"x | "CM7"x || "G7,b9"x | "CM7"x || "G7,b9"x | "CM7"x |] [V:D] "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x |] [V:1] !n>(!!green!A | !n>)!G || !n>(!!green!A | !n>)!G || !n>(!!green!_A | !n>)!G || !green!!n>(!_A | !n>)!G |] [V:2] !orange!F | E || !red!B, | !red!B, || !orange!F | E || !red!B, | !red!B, |] [V:3] x | x || x | x || x | x || x | x |] [V:4] !red!B, | !red!B, || !orange!F, | E, || !red!B, | !red!B, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, || G, | C, || G,, | C, |]

En ajoutant une voix pour avoir une 9e aux deux accords (en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "G7,9"x | "CM7"x || "G7,9"x | "CM7"x || "G7,b9"x | "CM7"x || "G7,b9"x | "CM7"x |] [V:D] "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x |] [V:1] !n>(!d | !n>)!!green!d || !n>(!!green!A | !n>)!G || !n>(!d | !n>)!!green!d || !green!!n>(!_A | !n>)!G |] [V:2] !n>(!!green!A | !n>)!G || !n>(!D | !n>)!!green!D || !n>(!!green!_A | !n>)!G || !n>(!D | !n>)!!green!D |] [V:3] !orange!F | E || !red!B, | !red!B, || !orange!F | E || !red!B, | !red!B, |] [V:4] !red!B, | !red!B, || !orange!F, | E, || !red!B, | !red!B, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, || G, | C, || G,, | C, |]

En remplaçant la quinte de l'accord de dominante par sa 13e majeure (en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "G9,13"x | "CM7,9"x || "G9,13"x | "CM7,9"x || "Gb9,13"x | "CM7,9"x || "Gb9,13"x | "CM7,9"x |] [V:D] "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x |] [V:1] !green!!n>(!e | !n>)!d || A | G || !green!!n>(!e | !n>)!d || _A | G |] [V:2] A | G || !n>(!!green!E | !n>)!D || _A | G || !green!!n>(!E | !n>)!D |] [V:3] !orange!F | E || !red!B, | !red!B, || !orange!F | E || !red!B, | !red!B, |] [V:4] !red!B, | !red!B, || !orange!F, | E, || !red!B, | !red!B, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, || G, | C, || G,, | C, |]

En remplaçant la quinte de l'accord de dominante par sa 13e mineure (en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "G9,b13"x | "CM7,9"x || "G9,b13"x | "CM7,9"x || "Gb9,b13"x | "CM7,9"x || "Gb9,b13"x | "CM7,9"x |] [V:D] "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x || "V7"x | "IM7"x |] [V:1] !green!!n>(!_e | !n>)!d || A | G || !green!!n>(!_e | !n>)!d || _A | G |] [V:2] A | G || !n>(!!green!_E | !n>)!D || _A | G || !green!!n>(!_E | !n>)!D |] [V:3] !orange!F | E || !red!B, | !red!B, || !orange!F | E || !red!B, | !red!B, |] [V:4] !red!B, | !red!B, || !orange!F, | E, || !red!B, | !red!B, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, || G, | C, || G,, | C, |]

I.4.2 - La cadence parfaite en mineur

En jazz on emprunte les accords aux trois gammes mineures : harmonique, naturelle et mélodique. La sensible n'est pas attendue sur l'accord de tonique, elle a été ajoutée artifiellement en mineur harmonique.

C ['P5','7','V7','D'],['P1','mM7','ImM7','Ts']
Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "G7"x | "CmM7"x || "G7"x | "CmM7"x |] [V:D] "V7"x | "ImM7"x || "V7"x | "ImM7"x |] [V:1] !n>(!G | !n>)!G || !n>(!G | !n>)!G |] [V:2] !o>(!!orange!F | !o>)!E || !red!!n>(!=B, | !red!!n>)!=B, |] [V:3] x | x || x | x |] [V:4] !red!!n>(!=B, | !red!!n>)!=B, || !o>(!!orange!F, | !o>)!E, |] [V:5] G, | C, || G,, | C, |]

On attend plutôt la septième mineure du mode mineur naturel.
En mélangeant le V7 du mineur harmonique avec le Im7 du mineur naturel.

C ['P5','7','V7','D'],['P1','m7','Im7','T']
Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "G7"x | "Cm7"x || "G7"x | "Cm7"x |] [V:D] "V7"x | "Im7"x || "V7"x | "Im7"x |] [V:1] !n>(!G | !n>)!G || !n>(!G | !n>)!G |] [V:2] !o>(!!orange!F | !o>)!E || !red!!n>(!=B, | !red!!n>)!_B, |] [V:3] x | x || x | x |] [V:4] !red!!n>(!=B, | !red!!n>)!_B, || !o>(!!orange!F, | !o>)!E, |] [V:5] G, | C, || G,, | C, |]

Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "G7alt"x | "Cm7,9"x || "G7alt"x | "Cm7,9"x || "G7alt"x | "Cm7,9"x |] [V:D] "V7"x | "Im7"x || "V7"x | "Im7"x || "V7"x | "Im7"x |] [V:1] !n>(!e | !n>)!d || !n>(!!green!^A | !n>)!G || !n>(!^A | !n>)!G |] [V:2] !n>(!!green!^A | !n>)!G || !orange!F | E || !n>(!E | !n>)!D |] [V:3] !orange!F | E || !n>(!E | !n>)!D || !red!=B, | _B, |] [V:4] !red!=B, | _B, || !red!=B, | _B, || !orange!F, | E, |] [V:5] G, | C, || G, | C, || G,, | C, |]

Il est courant d'utiliser l'accord m6 pour la tonique. On utilise la sixte majeure et non la sixte mineure diatonique et la quinte est aussi présente. L'accord Im6 vient du premier renversement de l'accord VI à quatre sons du mode mineur mélodique (Cm6 ≈ AØ7/C).

C ['P5','7','V7','D'],['P1','m6','Im6','T']
Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "G7"x | "Cm6"x || "G7"x | "Cm6"x |] [V:D] "V7"x | "Im6"x || "V7"x | "Im6"x |] [V:1] x | x || G | G |] [V:2] G | G || x | x |] [V:3] !orange!!o>(!F | !o>)!E || !n>(!!red!=B, | !n>)!!green!=A, |] [V:4] !n>(!!red!=B, | !n>)!!green!=A, || !orange!!o>(!F,| !o>)!E, |] [V:5] G, | C, || G,, | C, |]

En ajoutant une 9e mineure à l'accord de dominante :

Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "G7,b9"x | "Cm6"x || "G7,b9"x | "Cm6"x |] [V:D] "V7"x | "Im6"x || "V7"x | "Im6"x |] [V:1] x | x || !n>(!!green!A | !n>)!G |] [V:2] !n>(!!green!A | !n>)!G || x | x |] [V:3] !orange!F | E || !red!=B, | =A, |] [V:4] !red!=B, | =A, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, |]

En ajoutant une 9e à tous les accords :

Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "G7,b9,b13"x | "Cm6,9"x || "G7,b9,b13"x | "Cm6,9"x |] [V:D] "V7"x | "Im6"x || "V7"x | "Im6"x |] [V:1] !n>(!e | !n>)!!green!d || !n>(!!green!A | !n>)!G |] [V:2] !n>(!!green!A | !n>)!G || !n>(!E | !n>)!!green!D |] [V:3] !orange!F | E || !red!=B, | =A, |] [V:4] !red!=B, | =A, || !orange!F, | E, |] [V:5] G, | C, || G,, | C, |]

I.4.3 - La cadence plagale en majeur

C ['P4','M7','IVM7','SD'],['P1','M7','IM7','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD [V:C] "FM7"x | "CM7"x || "FM7"x | "CM7"x || "FM7"x | "CM7"x |] [V:D] "IVM7"x | "IM7"x || "IVM7"x | "IM7"x || "IVM7"x | "IM7"x |] [V:S] !n>(!e | !n>)!e || c | !red!B || A | G |] [V:A] c | !red!B || A | G || !n>(!E | !n>)!E |] [V:T] A | G || !n>(!E | !n>)!E || C | !red!B, |] [V:B] F, | C, || F, | C, || F, | C, |]

En ajoutant une 9e aux deux accords (notes en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "FM7,9"x | "CM7,9"x || "FM7,9"x | "CM7,9"x || "FM7,9"x | "CM7,9"x |] [V:D] "IVM7"x | "IM7"x || "IVM7"x | "IM7"x || "IVM7"x | "IM7"x |] [V:1] e | e || !n>(!c | !n>)!!green!d || !n>(!!green!G | !n>)!G |] [V:2] !n>(!c | !n>)!!green!d || !n>(!!green!G | !n>)!G || E | E |] [V:3] !n>(!!green!G | !n>)!G || E | E || !n>(!C | !n>)!!green!D |] [V:4] !n>(!A, | !n>)!!red!B, || !n>(!A, | !n>)!!red!B, || !n>(!A, | !n>)!!red!B, |] [V:5] F, | C, || F, | C, || F, | C, |]
C ['P4','7','IV7','SD'],['P1','M7','IM7','Ts']
Avec le degré IV7
emprunté au
mineur mélodique.
Q:1/1=40 %%player_no_voice %%piano3+1CD [V:C] "F7"x | "CM7"x || "F7"x | "CM7"x || "F7"x | "CM7"x |] [V:D] "IV7"x | "IM7"x || "IV7"x | "IM7"x || "IV7"x | "IM7"x |] [V:S] !n>(!_e | !n>)!=e || c | !red!B || A | G |] [V:A] c | !red!B || A | G || !n>(!_E | !n>)!=E |] [V:T] A | G || !n>(!_E | !n>)!=E || C | !red!B, |] [V:B] F, | C, || F, | C, || F, | C, |]

En ajoutant une 9e aux deux accords (notes en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "F7,9"x | "CM7,9"x || "F7,9"x | "CM7,9"x || "F7,9"x | "CM7,9"x |] [V:D] "IV7"x | "IM7"x || "IV7"x | "IM7"x || "IV7"x | "IM7"x |] [V:1] _e | =e || !n>(!c | !n>)!!green!d || !green!!n>(!G | !n>)!G |] [V:2] !n>(!c | !n>)!!green!d || !green!!n>(!G | !n>)!G || _E | =E |] [V:3] !n>(!!green!G | !n>)!G || _E | =E || !n>(!C | !n>)!!green!D |] [V:4] !n>(!A, | !n>)!!red!B, || !n>(!A, | !n>)!!red!B, || !n>(!A, | !n>)!!red!B, |] [V:5] F, | C, || F, | C, || F, | C, |]

Avec le degré IVm7 emprunté au mineur harmonique :

C ['P4','m7','IVm7','SD'],['P1','M7','IM7','Ts']
Q:1/1=40 %%player_no_voice %%piano3+1CD [V:C] "Fm7"x | "CM7"x || "Fm7"x | "CM7"x || "Fm7"x | "CM7"x |] [V:D] "IVm7"x | "IM7"x || "IVm7"x | "IM7"x || "IV7"x | "IM7"x |] [V:S] !n>(!_e | !n>)!=e || c | !red!B || _A | G |] [V:A] c | !red!B || _A | G || !n>(!_E | !n>)!=E |] [V:T] _A | G || !n>(!_E | !n>)!=E || C | !red!B, |] [V:B] F, | C, || F, | C, || F, | C, |]

En ajoutant une 9e au degrè IV (note en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD [V:C] "Fm7,9"x | "CM7"x || "Fm7,9"x | "CM7"x || "Fm7,9"x | "CM7"x |] [V:D] "IVm7"x | "IM7"x || "IVm7"x | "IM7"x || "IVm7"x | "IM7"x |] [V:1] _e | =e || !n>(!c | !n>)!!red!B || !n>(!!green!G | !n>)!G |] [V:2] !n>(!c | !n>)!!red!B || !n>(!!green!G | !n>)!G || _E | =E |] [V:3] !n>(!!green!G | !n>)!G || _E | =E || !n>(!C | !n>)!!red!B, |] [V:4] !n>(!_A, | !n>)!G, || !n>(!_A, | !n>)!G, || !n>(!_A, | !n>)!G, |] [V:5] F, | C, || F, | C, || F, | C, |]

I.4.4 - La cadence plagale en mineur

C ['P4','m7','IVm7','SD'],['P1','m7','Im7','T']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:Cm [V:C] "Fm7"x | "Cm7"x || "Fm7"x | "Cm7"x || "Fm7"x | "Cm7"x |] [V:D] "IVm7"x | "Im7"x || "IVm7"x | "Im7"x || "IVm7"x | "Im7"x |] [V:S] !n>(!e | !n>)!e || c | B || A | G |] [V:A] c | B || A | G || !n>(!E | !n>)!E |] [V:T] A | G || !n>(!E | !n>)!E || C | B, |] [V:B] F, | C, || F, | C, || F, | C, |]

En ajoutant une 9e au degrè IV (note en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "Fm7,9"x | "Cm7"x || "Fm7,9"x | "Cm7"x || "Fm7,9"x | "Cm7"x |] [V:D] "IVm7"x | "Im7"x || "IVm7"x | "Im7"x || "IVm7"x | "Im7"x |] [V:1] e | e || c | B || !green!!n>(!G | !n>)!G |] [V:2] c | B || !n>(!!green!G | !n>)!G || E | E |] [V:3] !n>(!!green!G | !n>)!G || E | E || C | B, |] [V:4] !n>(!A, | !n>)!G, || !n>(!A, | !n>)!G, || !n>(!A, | !n>)!G, |] [V:5] F, | C, || F, | C, || F, | C, |]

En ajoutant une 9e aux deux accords (notes en vert) :

Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "Fm7,9"x | "Cm7,9"x || "Fm7,9"x | "Cm7,9"x || "Fm7,9"x | "Cm7,9"x |] [V:D] "IVm7"x | "Im7"x || "IVm7"x | "Im7"x || "IVm7"x | "Im7"x |] [V:1] e | e || c | !green!d || !green!G | G |] [V:2] c | !green!d || !green!G | G || E | E |] [V:3] !green!G | G || E | E || C | !green!D |] [V:4] !n>(!A, | !n>)!B, || !n>(!A, | !n>)!B, || !n>(!A, | !n>)!B, |] [V:5] F, | C, || F, | C, || F, | C, |]

En mineur mélodique :

C ['P4','7','IV7','SD'],['P1','m7','Im7','T']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:Cm [V:C] "F7"x | "Cm7"x || "F7"x | "Cm7"x || "F7"x | "Cm7"x |] [V:D] "IV7"x | "Im7"x || "IV7"x | "Im7"x || "IV7"x | "Im7"x |] [V:S] !n>(!e | !n>)!e || c | B || =A | G |] [V:A] c | B || =A | G || !n>(!E | !n>)!E |] [V:T] =A | G || !n>(!E | !n>)!E || C | B, |] [V:B] F, | C, || F, | C, || F, | C, |]
Q:1/1=40 %%player_no_voice %%piano3+2CD K:Cm [V:C] "F7,9"x | "Cm7"x || "F7,9"x | "Cm7"x || "F7,9"x | "Cm7"x |] [V:D] "IV7"x | "Im7"x || "IV7"x | "Im7"x || "IV7"x | "Im7"x |] [V:1] e | e || c | B || !green!G | G |] [V:2] c | B || !green!G | G || E | E |] [V:3] !green!G | G || E | E || C | B, |] [V:4] !n>(!=A, | !n>)!G, || !n>(!=A, | !n>)!G, || !n>(!=A, | !n>)!G, |] [V:5] F, | C, || F, | C, || F, | C, |]

I.4.5 - La cadence rompue en majeur

C ['P5','7','V7','D'],['M6','m7','VIm7','t']
Q:1/1=40 %%player_no_voice %%piano3+1CD [V:C] "G7"x | "Am7"x || "G7"x | "Am7"x || "G7"x | "Am7"x |] [V:D] "V7"x | "VIm7"x || "V7"x | "VIm7"x || "V7"x | "VIm7"x |] [V:S] !o>(!!orange!f | !o>)!e || !red!!r>(!B | !r>)!c || G | G |] [V:A] !red!!r>(!B | !r>)!c || G | G || !o>(!!orange!F | !o>)!E |] [V:T] G | G || !o>(!!orange!F | !o>)!E || !red!!r>(!B, | !r>)!C |] [V:B] G, | A, || G, | A, || G, | A, |]

I.4.6 - La cadence rompue en mineur

C ['P5','7','V7','D'],['m6','M7','bVIM7','SD']
Q:1/1=40 %%player_no_voice %%piano3+1CD K:Cm [V:C] "G7"x | "AbM7"x || "G7"x | "AbM7"x || "G7"x | "AbM7"x |] [V:D] "V7"x | "bVIM7"x || "V7"x | "bVIM7"x || "V7"x | "bVIM7"x |] [V:S] !o>(!!orange!f | !o>)!e || !red!!r>(!=B | !r>)!c || G | G |] [V:A] !red!!r>(!=B | !r>)!c || G | G || !o>(!!orange!F | !o>)!E |] [V:T] G | G || !o>(!!orange!F | !o>)!E || !red!!r>(!=B, | !r>)!C |] [V:B] G, | A, || G, | A, || G, | A, |]