DOCSLIB.ORG

Chord Functions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chord Functions https://www.schoolofsynthesis.com/blog/blog-post/shaun-keyt-explains-all-important-chord- functions Chord Functions Have you ever looked for guidelines about writing a chord progression. Have you ever wondered if certain chords are better suited to starting or ending a chord progression. Have you ever tried to add variation to a chord progression which is sounding repetitive. If so, you may have been searching for theories about Chord Functions. Chord Functions can help you select your chords "with intent". Each Musical Scale has a set of chords or Triads which have been defined as fitting the scale. Using these chords in a chord progression allows you to compose "in key". In a Diatonic Scale, there are seven Triads which can be used in any combination to create a chord progression. Each chord is given a Scale Degree name, which is defined by its position or scale degree number within the scale. Below are listed the seven Scale Degree names of a Triad within a scale. Scale Degree Name Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone (Major scale) / Subtonic (Natural Minor Scale) https://www.schoolofsynthesis.com/blog/blog-post/shaun-keyt-explains-all-important-chord- functions Below are the Triads in the key of A Natural Minor. Scale Degree Name Scale Note Triad Tonic A A minor Supertonic B B diminished Mediant C C major Subdominant D D minor Dominant E E minor Submediant F F major Subtonic G G major Using the Table above, you have a list of Triads which can be used to write a chord progression in A Natural Minor. Now, we can discuss how each differs in its characteristics or function within a scale. The Tonic Triad is regarded as the Tonal Centre and strongest harmonic point of a Scale. It is traditionally the final destination of a chord progression, giving it a sense of completion and resolution. It can also be a great first chord in a progression as it provides a strong place to start from. Starting with the Tonic also sets up the key from the opening. As an alternative, many chord progressions avoid starting or ending with the Tonic Triad to create a sense of unresolved tension. This lack of resolution can create an interesting transition from the last chord to the first as the progression repeats. The Dominant Triad is often considered the next strongest triad in the scale. It's often considered a natural choice to go to or from the Tonic and can provide a great amount of contrast to the Tonic. The Subdominant Triad is another strong Triad in the scale and is one of the three Primary Triads, along with the Tonic and Dominant. In a Tonic-Dominant chord progression, the Subdominant can offer additional variety and complexity. In a chord progression where you're expecting to go to the Tonic, the Submediant can be a great substitute. For example, if the listener is expecting to hear the last chord as the Tonic (and hear a resolved ending), you could use the Subdominant instead to add surprise and avoid the expected resolution of the Tonic. The Submediant can seem like an opposite twin to the Tonic. They share two notes, so have a similar harmonic sound. Yet, in a Major or Minor (Natural) scale, when one is a Major triad, the other will always be Minor. This makes the Submediant a great substitute for the Tonic, as it can change the https://www.schoolofsynthesis.com/blog/blog-post/shaun-keyt-explains-all-important-chord- functions mood of a progression, when the Tonic is expected. It can also act as a substitute for the Subdominant triad, as they also share two notes in common. The Mediant Triad is comparable to the Tonic-Submediant relationship. Sharing two notes with the Tonic, the Mediant can reverse the mood when used as a Tonic substitute. It's also an interesting substitute for the Dominant which it shares two notes with. The Triad on the seventh Scale Degree of the Scale is determined by whether the scale is Major or Minor. In a Major scale, it will be the Leading Note triad, while in a Minor (Natural), it will be the Subtonic Triad. Both share two notes with the Dominant and are interesting Dominant substitutes. They are great for moving to or from the Tonic. In the Minor scale, the Subtonic is regularly relied upon for strength. The Supertonic Triad is most used for moving between Triads with more weight or resolution (like the Tonic or Dominant). It works well as a substitute for the Subdominant and Subtonic Triads, sharing two notes in common. Below is a list of possible Triad substitutions. Triad Substitutions TONIC: Submediant / Mediant DOMINANT: Mediant / Leading Note / Subtonic SUBDOMINANT: Submediant / Supertonic SUBTONIC: Supertonic So, the Triads in a Scale each have certain characteristics. A knowledge of these characteristics can help you choose "the right Chord for the right job" and can provide valuable insight to you when you're writing your next chord progression. .
Load more

Recommended publications
  • On Modulation —
    — On Modulation — Dean W. Billmeyer University of Minnesota American Guild of Organists National Convention June 25, 2008 Some Definitions • “…modulating [is] going smoothly from one key to another….”1 • “Modulation is the process by which a change of tonality is made in a smooth and convincing way.”2 • “In tonal music, a firmly established change of key, as opposed to a passing reference to another key, known as a ‘tonicization’. The scale or pitch collection and characteristic harmonic progressions of the new key must be present, and there will usually be at least one cadence to the new tonic.”3 Some Considerations • “Smoothness” is not necessarily a requirement for a successful modulation, as much tonal literature will illustrate. A “convincing way” is a better criterion to consider. • A clear establishment of the new key is important, and usually a duration to the modulation of some length is required for this. • Understanding a modulation depends on the aural perception of the listener; hence, some ambiguity is inherent in distinguishing among a mere tonicization, a “false” modulation, and a modulation. • A modulation to a “foreign” key may be easier to accomplish than one to a diatonically related key: the ear is forced to interpret a new key quickly when there is a large change in the number of accidentals (i.e., the set of pitch classes) in the keys used. 1 Max Miller, “A First Step in Keyboard Modulation”, The American Organist, October 1982. 2 Charles S. Brown, CAGO Study Guide, 1981. 3 Janna Saslaw: “Modulation”, Grove Music Online ed. L. Macy (Accessed 5 May 2008), http://www.grovemusic.com.
    [Show full text]
  • Ludwig Van Beethoven a Brilliant Pianist, but When Born: December 16, 1770 He Was Around 30 Years Old Died: March 26, 1827 Beethoven Began Going Deaf
    SymphonySecond No. Movement 8 in F Major Ludwig van Beethoven a brilliant pianist, but when Born: December 16, 1770 he was around 30 years old Died: March 26, 1827 Beethoven began going deaf. Even though he could no Ludwig van Beethoven was longer hear well enough to born in Bonn, Germany. His play the piano, Beethoven father, who was a singer, composed some of his best was his first teacher. After a music after he lost his while, even though he was hearing! still only a boy, Ludwig became a traveling Beethoven is considered performer, and soon he was one of the greatest musical supporting his family. geniuses who ever lived. He may be most famous for his In his early twenties nine symphonies, but he also Beethoven moved to Vienna, wrote many other kinds of where he spent the rest of music: chamber and choral his life. Beethoven was one pieces, piano works, string of the first composers to quartets, and an opera. make a living without being employed by the church or a member of the nobility. At first, he was known as Beethoven’s Music Listen to the second movement of Beethoven’s 8th Symphony, then answer the questions below. 1. How many “ticks” do you hear before the melody begins? a. 2 b. 5 c. 7 d. 8 2. What instrument plays the melody first? a. violin b. viola c. cello d. bass 3. Does the orchestra get loud suddenly? a. yes b. no 4. Does the music sound like it’s jumping around the orchestra? a.
    [Show full text]
  • Day 17 AP Music Handout, Scale Degress.Mus
    Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale.
    [Show full text]
  • Key Relationships in Music
    LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related.
    [Show full text]
  • Discover Seventh Chords
    Seventh Chords Stack of Thirds - Begin with a major or natural minor scale (use raised leading tone for chords based on ^5 and ^7) - Build a four note stack of thirds on each note within the given key - Identify the characteristic intervals of each of the seventh chords w w w w w w w w % w w w w w w w Mw/M7 mw/m7 m/m7 M/M7 M/m7 m/m7 d/m7 w w w w w w % w w w w #w w #w mw/m7 d/wm7 Mw/M7 m/m7 M/m7 M/M7 d/d7 Seventh Chord Quality - Five common seventh chord types in diatonic music: * Major: Major Triad - Major 7th (M3 - m3 - M3) * Dominant: Major Triad - minor 7th (M3 - m3 - m3) * Minor: minor triad - minor 7th (m3 - M3 - m3) * Half-Diminished: diminished triad - minor 3rd (m3 - m3 - M3) * Diminished: diminished triad - diminished 7th (m3 - m3 - m3) - In the Major Scale (all major scales!) * Major 7th on scale degrees 1 & 4 * Minor 7th on scale degrees 2, 3, 6 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 7 - In the Minor Scale (all minor scales!) with a raised leading tone for chords on ^5 and ^7 * Major 7th on scale degrees 3 & 6 * Minor 7th on scale degrees 1 & 4 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 2 * Diminished 7th on scale degree 7 Using Roman Numerals for Triads - Roman Numeral labels allow us to identify any seventh chord within a given key.
    [Show full text]
  • Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
    HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ......................................................................................
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]
  • Download Program Notes
    Symphony No. 5 in E minor, Op. 64 Pyotr Ilyich Tchaikovsky t should come as no surprise that Pyotr Ily- background to this piece, which involved Iich Tchaikovsky approached his Fifth Sym- resignation to fate, the designs of provi- phony from a position of extreme self-doubt, dence, murmurs of doubt, and similarly since that was nearly always his posture vis- dark thoughts. à-vis his incipient creations. In May 1888 he Critics blasted the symphony at its pre- confessed in a letter to his brother Modest miere, due in part to the composer’s limited that he feared his imagination had dried up, skill on the podium; and yet the audience that he had nothing more to express in mu- was enthusiastic. Predictably, Tchaikovsky sic. Still, there was a glimmer of optimism: “I decided the critics must be right. In Decem- am hoping to collect, little by little, material ber he wrote to von Meck: for a symphony,” he wrote. Tchaikovsky spent the summer of 1888 Having played my Symphony twice in Pe- at a vacation home he had built on a forest- tersburg and once in Prague, I have come ed hillside at Frolovskoe, not far from his to the conclusion that it is a failure. There home base in Moscow. The idyllic locale ap- is something repellent in it, some over- parently played a major role in his manag- exaggerated color, some insincerity of ing to complete this symphony in the span fabrication which the public instinctive- of four months. Tchaikovsky made a habit ly recognizes. It was clear to me that the of keeping his principal patron, Nadezhda applause and ovations referred not to von Meck, informed about his compositions this but to other works of mine, and that through detailed letters, and thanks to this the Symphony itself will never please ongoing correspondence a good deal of in- the public.
    [Show full text]
  • When the Leading Tone Doesn't Lead: Musical Qualia in Context
    When the Leading Tone Doesn't Lead: Musical Qualia in Context Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Claire Arthur, B.Mus., M.A. Graduate Program in Music The Ohio State University 2016 Dissertation Committee: David Huron, Advisor David Clampitt Anna Gawboy c Copyright by Claire Arthur 2016 Abstract An empirical investigation is made of musical qualia in context. Specifically, scale-degree qualia are evaluated in relation to a local harmonic context, and rhythm qualia are evaluated in relation to a metrical context. After reviewing some of the philosophical background on qualia, and briefly reviewing some theories of musical qualia, three studies are presented. The first builds on Huron's (2006) theory of statistical or implicit learning and melodic probability as significant contributors to musical qualia. Prior statistical models of melodic expectation have focused on the distribution of pitches in melodies, or on their first-order likelihoods as predictors of melodic continuation. Since most Western music is non-monophonic, this first study investigates whether melodic probabilities are altered when the underlying harmonic accompaniment is taken into consideration. This project was carried out by building and analyzing a corpus of classical music containing harmonic analyses. Analysis of the data found that harmony was a significant predictor of scale-degree continuation. In addition, two experiments were carried out to test the perceptual effects of context on musical qualia. In the first experiment participants rated the perceived qualia of individual scale-degrees following various common four-chord progressions that each ended with a different harmony.
    [Show full text]
  • Unc Symphony Orchestra Library
    UNC ORCHESTRA LIBRARY HOLDINGS Anderson Fiddle-Faddle Anderson The Penny-Whistle Song Anderson Plink, Plank, Plunk! Anderson A Trumpeter’s Lullaby Arensky Silhouettes, Op. 23 Arensky Variations on a Theme by Tchaikovsky, Op. 35a Bach, J.C. Domine ad adjuvandum Bach, J.C. Laudate pueri Bach Cantata No. 106, “Gottes Zeit ist die allerbeste Zeit” Bach Cantata No. 140, “Wachet auf, ruft uns die Stimme” Bach Cantata No. 209, “Non sa che sia dolore” Bach Brandenburg Concerto No. 1 in F major, BWV 1046 Bach Brandenburg Concerto No. 2 in F major, BWV 1047 Bach Brandenburg Concerto No. 3 in G major, BWV 1048 Bach Brandenburg Concerto No. 4 in G major, BWV 1049 Bach Brandenburg Concerto No. 5 in D major, BWV 1050 Bach Clavier Concerto No. 4 in A major, BWV 1055 Bach Clavier Concerto No. 7 in G minor, BWV 1058 Bach Concerto No. 1 in C minor for Two Claviers, BWV 1060 Bach Concerto No. 2 in C major for Three Claviers, BWV 1064 Bach Violin Concerto No. 1 in A minor, BWV 1041 Bach Concerto in D minor for Two Violins, BWV 1043 Bach Komm, süsser Tod Bach Magnificat in D major, BWV 243 Bach A Mighty Fortress Is Our God Bach O Mensch, bewein dein Sünde gross, BWV 622 Bach Prelude, Choral and Fugue Bach Suite No. 3 in D major, BWV 1068 Bach Suite in B minor Bach Adagio from Toccata, Adagio and Fugue in C major, BWV 564 Bach Toccata and Fugue in D minor, BWV 565 Barber Adagio for Strings, Op.
    [Show full text]
  • Trumpet Scales
    Poston Scale Packet Trumpet Jenn Bock Concert F Major G Major Written One Octave Scale and Arpeggio #c & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale # œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise # œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Bb Major C Major Written One Octave Scale and Arpeggio & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Eb Major F Major Written One Octave Scale and Arpeggio œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ w Poston Scale Packet- Trumpet- Jenn Bock 2 Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Ab Major Bb Major Written One Octave Scale and Arpeggio b &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ b œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
    [Show full text]
  • Lesson 3 Augmented 6Th Chords.Key
    Augmented 6th Chords 1. It’s a chord that contains the interval of an augmented 6th, usually above its bass Key: C major tone. 2. This interval is usually between the minor 6th degree of the scale ($6) and GRADE 8 MUSIC THEORY the raised fourth degree (#4).This Dr. Declan Plummer creates an augmented 6th interval Lesson 3: Augmented Sixth Chords (hence the name). 3. Augmented 6th chords tend to resolve outwards to the 5th degree of the scale, usually to chord V! Aug 6th V 4. So augmented chords can be another type of pre-dominant chord! Creating Augmented 6th Chords Italian Augmented 6th chords French Augmented 6th chords • Don’t have the 5th that German • Don’t have the 5th that German augmented chords have. augmented chords have. • Instead the tonic is doubled (the • Instead the 5th is substituted for a E$ is substituted for another C) 4th (the E$ is substituted for a D) Key C Major Key C Minor • A$ - C - C - F# • A$ - C - D - F# Gr+6 Gr+6 German Augmented 6th Key C Major Key C Minor Key C Major Key C Minor • Find the minor 6th degree of the key: A$ • Build a major triad on top of it: A$ - C - E$ • Then add an augmented 6th on top of this triad (which is also It+6 It+6 Fr+6 Fr+6 the #4 of the tonic): A$ - C - E$ - F# All notes are part of the whole • The German type of augmented 6th chord is the most common. tone scale (French impressionism) 5.
    [Show full text]