Function

A function describes the relationship between a chord and a tonal center within the context of a harmonic progression. Chord function is determined by harmonic context, voice leading tendencies, and the chord's role in establishing or departing from stability.

Tonic Function

Tonic chords provide stability and a sense of resolution or rest. They represent "home" in the key.

In Major: I, iii, vi

• The I chord is the primary tonic, containing the tonic note in the bass
• iii and vi share two notes with the tonic triad, giving them tonic qualities
• vi is particularly stable as it often substitutes for I in deceptive cadences

In Minor: i, ♭VI, ♭III

• The i chord is the primary tonic
• ♭VI and ♭III share the tonic function through their close relationship to the tonic triad
• These chords provide stability without the strong pull toward resolution

A tonic can serve as a "temporary" dominant by turning it into a 7th or 9th chord. By doing this, it makes a movement to the IV chord much easier. In fact, this movement to IV can be thought of as a V⁷-I movement, if we consider that what was formerly our IV is now a new (temporary) home. This has been used as a tool to modulate the song during a bridge section, for example. In this process, the I appears to relinquish its status as the home tonality, as it moves convincingly to the IV chord.

• ex. start of bridges of "Hey Jude", "Revolution", "Oh Darling", "If I Fell", "This Boy".
• this works because, for example, a chord change from C-F is not merely a I-IV in the key of C, but also can be dressed up as V⁷-I in the key of F. In this case, the priming of the new tonal center happens because of the seventh chord.

Subdominant Function

Subdominant chords create movement away from tonic stability. They build tension but in a different way than dominant chords— they tend to "drift" rather than urgently pull toward resolution.

In Major: ii, IV

• IV contains the tonic note, giving it some stability while still moving away from home
• ii lacks the tonic note entirely, creating a sense of departure
• Adding 7ths changes their character: ii⁷ becomes more stable due to voice leading tendencies, while IV⁷ adds dissonance

In Minor: ii°, iv, ♭VII

• iv is particularly common, often appearing as iv⁷
• The subdominant function helps establish the minor mode through the lowered sixth scale degree

Key Characteristics:

• Create harmonic motion away from tonic
• Often contain the fourth scale degree, which wants to resolve down to the third
• Frequently precede dominant chords in progressions

Usage

The IV-iv minor 'miracle' move

• Try going from the normal major IV chord to a minor iv chord before returning to the tonic
  • ex. In My Life, Til There Was You

Dominant Function

Dominant chords create instability and tension that strongly pulls toward tonic resolution. They are the primary driving force in tonal harmony.

Generally speaking, the role of the dominant is to prime (intensify) the resolution to the next chord in the circle of fifths movement.

In Major: V, vii°

• Both contain the leading tone (7th scale degree), which creates strong pull toward tonic
• V⁷ intensifies this pull by adding a tritone between the 3rd and 7th of the chord
• The tritone resolves inward: leading tone up to tonic, 4th scale degree down to 3rd

In Minor: More complex due to the absence of a natural leading tone

• Natural minor: ♭VII and v lack the leading tone, creating weaker dominant function
• Harmonic minor: Raises the 7th scale degree to create a leading tone, enabling strong V and vii° chords
• Common to borrow V and V⁷ from the parallel major to strengthen dominant function

Voice Leading in V⁷-I Resolution:

1. Leading tone resolution: 7th scale degree resolves up to tonic
2. Tritone resolution: 4th scale degree resolves down to 3rd scale degree
3. Root movement: Strong progression by descending perfect fifth

Contextual Notes:

• Dominant function depends heavily on harmonic context
• Even in natural minor, context can give ♭VII or v dominant-like function
• Secondary dominants extend this function to tonicize other keys temporarily

Secondary Dominant

Chords built on other scale degrees (usually ii, iii, vi; the minor triads) can serve as secondary dominants by raising the 3rd a semitone and adding a 7 (so ii becomes II⁷, iii becomes III⁷, and so on)

• Though these are labeled dominants, they need not always contain the seventh, as is the case for the primary dominant (ie. V and not V7)

Essentially, we can make the ii, iii and vi scale degrees into dominants (meaning, we raise the 3rd a semitone and optionally add the 7th). This sets it up nicely to hit the chord that would be the I of that secondary dominant. This is useful if we are in a different key (say, for a bridge) and want to return to the songs main key. If the song were in Gmaj and we modulated up a 4th to C for the bridge, we could end the bridge on the D7 to launch us to the tonic of G.

Given that the cirle of fifths shows us the relationship between 5th scale degrees, we can see how each of these secondary dominants relate to the home key of the song, and we can see how each secondary dominant can lead us to certain places.

When looking at secondary dominance, our natural question may be, why have a non-diatonic note? The answer is to propel a chord sequence with added impetus while providing scope for a new melody note from outside the parent scale.

• Just like the primary dominant, the function of the secondary dominant is usually to intensify the resolution to the next chord in any cycle of fifths movement.
• Effectively, it is just another V-I move.

The basic idea is that you can alter one of the chords (usually the minor ones) in a major key, and then imagine what you were playing was the fifth. This gives it a priming effect that empowers the move to that chord's I.

• ex. If we were playing in the key of D major, the sixth of that key would be A minor. If we make it serve the function of secondary dominant, then it becomes B major 7. The B major 7 would be the fifth of the E. So by making the sixth major and adding a seventh, it primes us for a move to the E major or E minor, since B is at the 5th scale degree of the key of E.
• ex. Consider the very first chord progression of Maxwell's Silverhammer. It starts on D major, and then it goes down to the sixth, but the sixth is not minor, it is major, and it has the seventh. From here, it moves to the E minor. Turning that minor sixth into a major sixth primes the following V-I movement.

To add even more distance to make an even more satisfying resolution consider using diminished chords. Take for instance the song "Moon River". It descends the circle of fifths quite a long way starting with a sharp for that is voiced as a diminished seventh chord. From there it goes into its V, followed by the next V and so on until it arrives at E major.

• What’s notable in this progression is that the V of that diminished seven chord is a major seventh, and then the fifth of that chord is a minor seventh and then the fifth of that chord is a major seventh, and then the fifth of that chord is a minor seventh, and the fifth of that chord is a major seventh and the fifth of that is an E major which is the home key of the song, so it alternates between major and minor as it’s doing the fifths descent, but it’s important to note here is the part of about how we start this 5th by using a very descendent diminished seventh chord to lead into the next chord which is the 1 of that diminished seventh chord.

Using Diminished Chords for Extended Circle of Fifths Progressions To add even more harmonic distance and create a more satisfying resolution, consider using diminished chords to launch an extended circle of fifths descent. Take "Moon River" as an example. It travels quite far around the circle of fifths, starting with F#°7 (voiced as a diminished seventh chord). From there, it moves through successive dominants - each chord functioning as the V of the next - until it finally arrives at E major. What's particularly notable about this progression is the pattern that emerges as it descends through the circle of fifths: the fifth of each chord alternates between being a major seventh and a minor seventh chord. Starting from that diminished seventh chord, the fifth of that chord is a major seventh, then the fifth of that chord is a minor seventh, then major seventh, then minor seventh, then major seventh, and finally the fifth of that last chord brings us to E major - the home key of the song. So the progression alternates between major and minor seventh qualities as it executes this fifths descent. The key insight: Using a diminished seventh chord to begin this circle of fifths descent creates maximum harmonic distance from the home key, setting up an extended and highly satisfying resolution when the progression finally returns home.

II⁷ (V/V, or V-of-V)

• ex. I Will (on "when we're apart")
  • consider how the effect is to almost briefly modulate the song to C (the V of the song's main key of F)

VI⁷ (V/ii, or V-of-ii)

Hitting the VI7 adds one more step to the progression. Instead of going from II-V-I, we wind it back one more step and go VI-(ii/II)-V-I. In this case, it’s major and minor are both equally valid options

• ex. Good Day Sunshine verse, Maxwells Silver Hammer verse, Mr. Moonlight (on "fine")
• VI7 is most obvious as a turnaround device at the end of a song. It is frequently used by the Beatles as a repeated tag that takes us around the block with VI7 repeatedly priming the II-V-I (or ii-V-I) cadence. Ex. Little Child ending, Her Majesty ending

III⁷ (V/vi, or V-of-vi)

In the vii-III-vi progression, the vii is often played as minor instead of diminished

This progression takes us to the vi chord in a far stronger way than if we just jumped to it directly from the home tonic

Ex. Here, There and Everywhere; Yesterday (opening chord); Moon River (from Breakfast at Tiffany’s)

Don't forget, when you're playing in a minor key, your key is also the vi chord of the parallel minor. If we're playing in Am, our Am can be made into a secondary dominant by making it an A7 (vi->VI7), which can facilitate a "key change" to C.

VII7 (V/iii, or V-of-iii)

Not used as often as the other secondary dominants, but it's used in a similar way, which is to point to its I (ie. iii of the current key) but used in a similar way, which is to point to the

• ex. Sexy Sadie

I7 (V/IV, or V-of-IV)

Interestingly, the 5th of the 4 is the tonic that we've been playing in. Often the way that this is used is to modulate to a different key.

• ex. Imagine we're in C and want to modulate to F. What we could do is have our verse end on C, and half of the time that the C chord is playing, it turns into a C7. This makes the pull to the F much stronger, since the C is now acting as the fifth of the F.

Functional Progression Patterns

Common progressions:

• T-S-D-T: The fundamental harmonic cycle (e.g., I-IV-V-I)
• T-D-T: Direct tonic-dominant relationship (e.g., I-V-I)
• S-D: Subdominant frequently leads to dominant (e.g., IV-V, ii-V)

Important: Function is contextual—the same chord can serve different functions depending on its placement in the progression and voice leading context.

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