![]() Note that this arrow only moves in one direction, as vi-V is not a common enough motion to include on the chart. We draw the arrow from the V chord to the vi chord on the chart. Though we commonly see this motion at a deceptive cadence, this type of motion is not limited to cadences and can be used internally in phrases. The first arrow that we can add to the chart is from V to vi, which is called deceptive motion because the vi chord acts as a temporary substitute for I. In addition to forward motion from left to right on the chart, there are three common types of motion between chords that can be indicated on the chart. The vi chord precedes the predominant category, and the iii chord precedes the vi chord on the chart. The two remaining diatonic chords, vi and iii, act as intermediate harmonies but are not grouped together into one category. The chords can move within the same category, however, it is more common for IV to move to ii rather than for ii to move to IV. Like the dominant category, both chords are contained within a bracket with arrows to show that both chords can move to either chord in the dominant category. Like progressing from dominant to tonic, moving from predominant to dominant to tonic is one the most fundamental and frequently used progressions in music. The two chords contained in the predominant category are IV and ii. The predominant category comes before the dominant category on its way to tonic. That is done deliberately to show that tonic is different from the other categories because tonic is both home base and the most flexible chord. ![]() Notice that the tonic category is contained within a circle instead of a bracket. Chords can move within the same category, however, it is more common for vii˚ to move to V, rather than for V to move to vii˚. The dominant category chords are drawn within a bracket to show that they are part of the same category and have arrows that show that both chords can go to tonic. ![]() The leading tone, a tendency tone that wants to resolve to tonic, exists in both chords in the dominant category. Dominant function chords include V and vii˚. Because it is the goal of motion, it will be the last chord on the functional harmony chart, so we will draw the tonic chord on right-hand side of the chart.Ĭhords in the dominant category most often directly precede tonic. It is home base in a key, and has the most stability and flexibility. Tonic is the ultimate goal in tonal music. We’ll draw the functional harmony chart in major first, and then show the differences in minor. We will examine individual chords in more detail in later chapters. Putting each category into a functional harmony chart shows the relationships between the chords and categories. The second example, however, obscures the expected progressions found in music in such a way that our ears have trouble recognizing where tonic is and understanding where we are in the progression at any time.Ĭhords built on each scale degree in a key can be grouped into categories that share a common function. You should have no trouble singing tonic after listening to the example. The first is written with a chord progression that follows expected motions, ultimately progressing towards tonic. Expected progressions between chords make the music we hear make sense to our ears. Each chord in a key has its own level of status, behavior, and stability. 6.1 Functional Harmony: Tutorial Functional Harmonyįunctional harmony in tonal music centers around the idea that tonic serves as the “home base” in a key and chords built on each scale degree in the scale have predictable relationships with each other and predictable movements as they ultimately progress towards tonic.
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