Functional Harmony Tonic, Dominant, and Subdominant Functions

Functional Harmony: Tonic, Dominant, and Subdominant Functions

Functional harmony is an approach to music theory that assigns specific roles to chords in a progression. These roles create a harmonic structure that guides tension and resolution within a composition. In this post, we will explore the three main functions: tonic, dominant, and subdominant. We will also look at how harmonic substitutions and passing chords can enrich a progression.

Main Harmonic Functions

1. Tonic Function

The tonic is the resting and stable chord, the point where a progression “feels at home.” In a major key, the tonic chord is found on the first degree (I), and in a minor key, on the sixth degree (vi).

Example in C Major: The tonic chord is C (C - E - G).
Feeling: Stability, conclusion, and rest.
Usage:
- The tonic is used to begin and end phrases or sections, creating a sense of repose.
- In popular music, it is often used at the end of a progression to close the piece with a sense of satisfaction.
Song Examples:
- “Let It Be” by The Beatles (C as the tonic chord in the key of C).
- “Someone Like You” by Adele (A as the tonic chord in the key of A).

2. Dominant Function

The dominant is the chord that generates tension and pushes toward resolution in the tonic. This function resides on the fifth degree (V) of the major or minor scale.

Example in C Major: The dominant chord is G (G - B - D), or G7 (G - B - D - F) if the seventh is added.
Feeling: Tension and expectation, calling for resolution.
Usage:
- The dominant is used to create a cadence that leads to the tonic, especially at the end of musical phrases.
- It is also used to maintain interest in a progression, particularly in sections that require a high level of energy.
Song Examples:
- “Hey Jude” by The Beatles (G as the dominant leading to C).
- “Every Breath You Take” by The Police (D as the dominant in G).

3. Subdominant Function

The subdominant is the chord that prepares the transition to the dominant. It provides a sense of movement without the strong tension of the dominant. The subdominant is found on the fourth degree (IV) in a major key or on the second degree (ii) in a minor key.

Example in C Major: The subdominant chord is F (F - A - C).
Feeling: Movement toward the dominant, creating a harmonic “bridge.”
Usage:
- It is used to smooth the transition to the dominant, providing a natural progression.
- In many songs, the subdominant helps create a sense of musical journey before arriving at the resolution.
Song Examples:
- “Brown Eyed Girl” by Van Morrison (F as the subdominant leading to G).
- “With or Without You” by U2 (C as the subdominant anticipating G).

Example of Functional Progression

A basic functional progression in C major that includes all three functions would be: C (I) - F (IV) - G7 (V) - C (I)

This progression traverses each function, generating a complete cycle of tension and resolution.

Harmonic Substitutions

Harmonic substitutions allow for replacing one chord with another that serves a similar function, adding variety and color to a progression without altering its basic structure. There are several types of substitutions, such as relative substitutions and tritone substitutions.

1. Relative Minor Substitution

Each major chord can be substituted with its relative minor chord (or vice versa), as they share several common notes.

Example in C Major: The tonic C (I) can be replaced by Am (vi).
Progression: C - F - G → Am - F - G
Song Example:
- “Knockin’ on Heaven’s Door” by Bob Dylan, which uses an Am chord in place of C while maintaining the same function.

2. Tritone Substitution

The tritone substitution is a common technique in jazz that replaces a dominant chord with another chord whose root is a tritone away. Both chords share notes that generate tension, especially in seventh chords.

Example in C Major: The dominant G7 can be substituted with Db7, generating a similar feeling of tension.
Progression: C - F - G7 - C → C - F - Db7 - C
Song Example:
- “All The Things You Are” by Jerome Kern, which uses tritone substitutions in its chord progressions.

3. Secondary Substitutions

Secondary dominants are also very useful, as they allow for temporarily adding tension toward other chords in the scale. For example, in the key of C major, D7 (V7/V) can be used to resolve to G (V).

Progression: C - D7 - G - C
Song Example:
- “I Got Rhythm” by George Gershwin, which uses secondary dominants to enrich its progressions and create tension.

Passing Chords

Passing chords are brief chords used to connect primary chords in a progression. They add movement without changing the harmonic function of the surrounding chords.

1. Chromatic Passing Chords

A chromatic passing chord connects two primary chords through a semitone movement. It is widely used in jazz and other genres to add interest and smooth out transitions.

Example: C - C#dim - Dm - G7 - C
Song Example:
- “Blue Bossa” by Kenny Dorham, which uses chromatic passing chords to connect its sections.

2. Diatonic Passing Chords

These chords are found within the same scale as the primary key and are often secondary chords from the second or seventh degree.

Example in C Major: C - Dm - Em - F - G
Song Example:
- “Let It Be” by The Beatles, which utilizes diatonic chords to facilitate smooth transitions between chords.

3. Approach Chords

Approach chords are typically a semitone or whole tone below or above the chord they precede, adding a subtle anticipation.

Example in C Major: Am - Ab - G (where Ab functions as a passing chord between Am and G).
Song Example:
- “Falling Slowly” by Glen Hansard and Markéta Irglová, which incorporates approach chords to enrich its melody and harmony.

Tips for Practicing Functional Harmony

Identify Functions in Songs: Listen to songs and try to identify the tonic, dominant, and subdominant chords. This will help you develop a “functional ear.”
Experiment with Substitutions: Practice substituting chords in known progressions. For example, try replacing the V7 with its tritone in songs you already know.
Use Passing Chords to Soften Changes: If a progression feels too rigid, try adding chromatic or diatonic passing chords between the main chords.
Create Progressions Using Functions and Substitutions: Play around with functions and substitutions to create original progressions. A good exercise is to write a simple progression and then replace some chords using their relatives or secondary dominants.

Conclusion

Functional harmony and its concepts (tonic, dominant, subdominant, harmonic substitutions, and passing chords) are essential for enriching and structuring your compositions. Understanding how to utilize and combine these functions opens up creative possibilities and allows you to control the flow and emotion in a musical piece. Explore, practice, and discover how these principles can transform your music!

Functional Harmony Tonic, Dominant, and Subdominant Functions