Introduction
The II chord has long intrigued musicians and composers for its multifaceted nature. Whether it is classified as minor, major, or diminished, the II chord can significantly alter the harmonic texture of a piece of music. This article delves into the nuances of the II chord, exploring why it is not always minor and how its nature varies based on the key signature and musical context.
II Chord in Major and Minor Keys
Contrary to common belief, the II chord is not always a minor chord. Its classification as major or minor can vary based on the key signature and the specific musical context.
Diatonic in a Major Key: Generally, the II chord in a natural major key (such as C major) is a minor chord. For example, in C major, the ii chord is D minor (Dm). However, if a composer elects to raise the f note to a f#, the II chord becomes D major (Dm), and the notation is capitalized (D).
Diatonic in a Minor Key: In a natural minor key (such as C minor), the ii chord becomes a diminished chord (ii°). For example, in C minor, the ii chord is D diminished (Ddim7, D°).
Non-Diatonic Usage and Context
While the II chord is typically minor in diatonic harmony, its nature is not absolute. Numerous contextual factors can influence its classification and usage.
Mode and Key Deviations: In certain musical modes or key deviations, the II chord can take on different harmonic functions. For instance, when playing flamenco guitar in E phrygian dominant, the II chord is an F major chord. Similarly, in F Lydian mode, the II chord is G7—a dominant seventh chord.
Borrowed Chords: Borrowed chords are common in music, allowing composers to introduce chords from parallel major or minor keys. In a song in C major, substituting a D major chord (Dm) for the expected D minor chord is a common technique known as model interchange. This technique enriches the harmonic language, introducing new melodies and emotional textures.
Prominent Examples of II Chord Variations
A famous example illustrating the non-minor nature of the II chord is the opening bars of Duke Ellington's "Take the 'A' Train."
The first four bars of the melody in "Take the 'A' Train" are:
C / D7
Here, the D7 chord, acted upon as a dominant seventh chord, serves a powerful role in the harmonic structure of the piece. This example underscores the versatility of the II chord, demonstrating that it is not always minor and can be used to create a dominant function in the music.
Conclusion
The nature of the II chord is highly variable and dependent on the key signature, mode, and specific musical context. While it is commonly minor in diatonic major and minor key signatures, its classification as major or minor can be altered by various compositional techniques. Understanding these nuances is crucial for composers and musicians seeking to explore and manipulate harmonic structures effectively.