<<<<<<< back to Chord Progressions  Chord Functions What do the Chords Accomplish?   Below are the names, numbers and functions of each chord built on the diatonic scale.  Some mention of modulation is made. 2nd Degree of the Scale – in the key of D the ii chord is Em   Called:  the supertonic Chord:   ii The function of the supertonic chord is to move to the dominant chord. The supertonic is a minor triad in a major key, and a diminished triad in a minor key. Modulation to the supertonic is not commonly done.   3rd Degree of the Scale -- in the key of D the iii chord is F#m   Called:  the mediant Chord:  iii The mediant serves as a midway point between I and V.  Modulation to the mediant is common in pieces written in the minor mode.

4th Degree of the Scale -- in the key of D the IV chord is G   Called:  the subdominant Chordl:  IV The subdominant chord is one of the three most important chords built on the diatonic scale. The others are the tonic chord and the dominant chord. The subdominant chord is the same distance below the tonic chord as the dominant chord is above the tonic chord. That means that the tonic chord is the dominant chord of the subdominant chord. This is confusing to read. Here’s how it works in practice. In the key of G the three significant chords are:      Tonic = G      Subdominant = C      Dominant = D In the key of C, the dominant chord is G. This important relationship is used in modulation and development of many B parts of tunes.  It is common to hear a tune begin in G and modulate to C in the B part.  Modulation into the subdominant key causes a feeling of relaxation.   Chord movement from the subdominant chord to the tonic chord is familiar. We know it as the “Amen” at the end of hymns. The technical term for this is “plagal cadence”. 5th degree of the scale -- in the key of D the V chord is A   Called: the dominant Chord: V The most important function of the dominant chord is to create harmonic instability that generates tension for the listener. This tension is required in order for music to produce the sense of resolution that listeners seek. Modulation to the dominant key is very common. This technique increases tension and often generates a sense of uplift or import to the music. When the tonic chord follows the dominant chord, the movement is called an “authentic cadence.” If the roots of the two chords are played as the bass line and the tonic tones are in the highest voice, the movement is called a perfect authentic cadence.

6th degree of the scale -- in the key of D the vi chord is Bm   Called: the submediant Chord: vi The 6th degree of the scale is also a 3rd below the tonic.   This relationship makes it the “sub” mediant in contrast to the mediant chord that is a 3rd ABOVE the tonic.   The submediant tone is: the mediant tone of the subdominant chord the dominant tone of the supertonic  These relationships make chord built upon the 6th degree of the scale an important pivot point for chord movement. Modulation to the submediant is not very common, but, when done, it gives a feeling of relaxation. 7th degree of the scale -- in the key of D the vii° chord is Cdim   Called: the leading tone or subdominant tone Symbol: vii° for chords built on the leading tone   The leading-tone resolves or "leads" a melody to a note one-half-tone higher or lower. In the music played by the dulcimer, the leading tone is usually the 7th degree of the scale.   The chord built on this tone of the scale is always a diminished chord. Modulation to the key of the leading tone is rarely done. That’s because, on the diatonic scale, this modulation delivers the listener to an unstable tonal center defined by a diminished chord.  In modes of the diatonic scale where the 7th degree of the scale is a whole tone distant from the tonic, the tone is called the subdominant tone. The subtonic tone is not part of the diatonic scale. It is actually the lowered seventh degree of the scale. In the key of D the 7th tone is C#. This is the leading tone. The subtonic tone in the key of D is C. Just C.  That is C natural. If however, the key is B minor (that’s the relative minor of D major) the diatonic scale is B C# D E F# G A B. Here A is the subtonic tone because it is a whole step below the tonic tone of B.  Jazz and blues arrangements make use of the subtonic frequently in dominant chords. This tone adds tension and color to an arrangement. Modulation to the subtonic is uncommon.     On to the Circle of 5ths >>>>>

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