What Is a Passing Chord? A Comprehensive Guide to Smooth Harmonic Transitions

A passing chord is a chord that connects two diatonic chords by stepwise motion, often chromatic or secondary, to smooth out harmonic progressions. It typically appears on a weak beat and serves as a bridge, adding tension and color without disrupting the key.

Etymology / Origin

The term “passing chord” derives from the concept of “passing tones” in counterpoint, where non-chord tones connect chord tones by step. In harmony, a passing chord is a chord that functions similarly, often chromatic, to connect two diatonic chords. Historically, passing chords became prominent in the Romantic era with increased chromaticism, and later in jazz and gospel music where they are used extensively for reharmonization. The practice of inserting chords between structural harmonies can be traced back to the 19th century, when composers like Chopin and Wagner began using chromatic passing chords to heighten emotional expression. In the 20th century, jazz musicians adopted and expanded the technique, making it a cornerstone of modern harmony.

How It Works

Mechanically, a passing chord is inserted between two target chords that are a whole step or half step apart. It often involves chromatic movement in one or more voices. For example, in the key of C, moving from C major to D minor, a C# diminished chord can be used as a passing chord (C – C#dim – Dm). The bass moves chromatically C-C#-D, while other voices move by step. Passing chords are usually placed on weak beats or weak parts of the measure to avoid disrupting the harmonic rhythm. They can be diatonic (e.g., using a chord from the key that is not the main target) or chromatic (using notes outside the key). The most common types are diminished passing chords, dominant passing chords, and chromatic approach chords. The key principle is voice leading: each note in the passing chord resolves smoothly to a note in the next chord, often by half step.

Notation & Diagrams

A typical passing chord progression can be notated as follows in the key of C major:

Chord symbols: C | C#dim7 | Dm7 | G7

Piano voicing (right hand / left hand):

• C: E-G-C / C
• C#dim7: E-G-Bb-C# / C#
• Dm7: F-A-C / D
• G7: F-G-B / G

Guitar tab (simplified):

e|-------------------
B|--1---2---1---0---
G|--0---0---2---0---
D|--2---2---0---0---
A|--3---4-------2---
E|-------------------
   C  C#dim7 Dm7 G7

Insert diagram of C – C#dim7 – Dm7 chord progression on piano or guitar fretboard.

Step-by-Step / How to Play

1. Identify two target chords that are a whole step or half step apart in your progression (e.g., I to ii, or IV to V).
2. Choose a passing chord that is a half step between them. A diminished chord a half step below the target is a common choice (e.g., C#dim7 to Dm7).
3. Voice the passing chord to create smooth voice leading. Keep common tones where possible and move other voices by step.
4. Place the passing chord on a weak beat (e.g., the “and” of beat 4) to maintain the original harmonic rhythm.
5. Experiment with different passing chord types such as dominant 7th chords a half step above the target, or diatonic chords like the ii chord between I and iii.
6. Practice slowly with a metronome, listening for the tension and release created by the passing chord.

Common Variations

• Chromatic Passing Chord: Uses notes outside the key, such as a diminished or dominant chord a half step away from the target.
• Diatonic Passing Chord: Uses chords within the key, like inserting the ii chord between I and iii (C – Dm – Em).
• Secondary Dominant Passing Chord: A dominant seventh chord that resolves to a diatonic chord (e.g., A7 to Dm in the key of C).
• Diminished Passing Chord: A diminished seventh chord, often used for its symmetrical structure and strong resolution (e.g., C#dim7 to Dm).
• Augmented Passing Chord: An augmented chord that creates a rising chromatic line, common in gospel and jazz.
• Gospel “Preacher Chord”: A dominant 13th or altered chord used as a passing chord in gospel music, often with a chromatic bass line.

Common Mistakes

• Overusing passing chords: Too many can clutter the harmony and obscure the original progression.
• Placing on strong beats: Passing chords on downbeats can disrupt the harmonic rhythm and sound jarring.
• Poor voice leading: Large leaps or unresolved dissonances can make the transition sound awkward.
• Ignoring the melody: The passing chord should not clash with the melody note; adjust voicing accordingly.
• Using the wrong chord quality: A passing chord that doesn’t resolve convincingly (e.g., a major chord a half step below) may sound out of place.

Notable Examples in Songs

• “Yesterday” – The Beatles
• “Georgia on My Mind” – Hoagy Carmichael
• “Amazing Grace” (gospel arrangement)
• “Creep” – Radiohead
• “All of Me” – John Legend
• “Autumn Leaves” – Jazz standard