I just wanted to say, I haven't had my coffee yet and misread this as "14 modes of the major scale." Thanks for a morning laugh!
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I just wanted to say, I haven't had my coffee yet and misread this as "14 modes of the major scale." Thanks for a morning laugh!
Here are a few but BASIC fundamentals about those Modes.
1. Modes are DIATONIC.
DIATONIC refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B.
In short.
Once upon a time there were NO black piano keys; therefore, any Music people were playing by using only white piano keys was DIATONIC.
Currently, we have a more updated version of the word, DIATONIC because some "rebellious musicians" added black piano keys and "almost" destroyed a "naturally-superb"
Modal System.
di·a·ton·ic
ˌdīəˈtänik/
adjective
Music
adjective: diatonic
2. Modes = as a single melody line sung at unison!
Probably, everybody has heard "Happy Birthday" sung by servers in a/any restaurant.
I doubt that those servers know what key the song is. They just start singing as small/big choir of various singers with "nicely-terrible" voices.
Somehow, more or less, we can recognize that song because of its intervals between the notes/words -
an ordered series of intervals with respect to a starting note (whose absolute pitch is not specified),
which is our description of MODES.
In short.
We don't care what is the exact starting note of "Happy Birthday". We just try to preserve the correct intervals between the notes/words.
I hope we have learned the meaning of MODES.
Just as a comic relief, here are a few Happy Birthday sheet music transcribed/notated in different keys.
1. Modes are DIATONIC.
DIATONIC refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B.
In short.
Once upon a time there were NO black piano keys; therefore, any Music people were playing by using only white piano keys was DIATONIC.
Currently, we have a more updated version of the word, DIATONIC because some "rebellious musicians" added black piano keys and "almost" destroyed a "naturally-superb"
Modal System.di·a·ton·ic
ˌdīəˈtänik/
adjective
Music
adjective: diatonic
- (of a scale, interval, etc.) involving only notes proper to the prevailing key without chromatic alteration.
- (of a melody or harmony) constructed from a diatonic scale.
2. Modes = as a single melody line sung at unison!
Probably, everybody has heard "Happy Birthday" sung by servers in a/any restaurant.
I doubt that those servers know what key the song is. They just start singing as small/big choir of various singers with "nicely-terrible" voices.
Somehow, more or less, we can recognize that song because of its intervals between the notes/words -
an ordered series of intervals with respect to a starting note (whose absolute pitch is not specified),
which is our description of MODES.
In short.
We don't care what is the exact starting note of "Happy Birthday". We just try to preserve the correct intervals between the notes/words.
I hope we have learned the meaning of MODES.
Just as a comic relief, here are a few Happy Birthday sheet music transcribed/notated in different keys.
@Whousedtoplay .....your latest posts are very helpful and well explained. 
We have learned the major scale formula/TEMPLATE:
(R) W - W - H - W - W - W - H
Let's try that template while starting with the note - G.
Here is how it looks on the piano.
And here is what we got.
Our Template/Formula indicated that we have F# in the G major scale.
"Because F always(!!!) means F# in the G Major scale, it is inconvenient to do this every time the note is used. Instead, a sharp can be placed at the start of every staff, to indicate that all F notes are to be played sharp."
It is known as the key signature of the G major scale.
As you can see, we do NOT have ANY accidentals in front of ANY notes from the G major scale.
To sum up my comment.
If we write/indicate F# in the key signature of the G major scale,
then,
ANY notes without ACCIDENTALS in front of them will be DIATONIC to the G major scale.
Examples:
The following notes are DIATONIC to the G major scale:
A - C - E - D - A - B - F# - E ,
but
the following notes are NOT DIATONIC to the G major scale:
Bb - Db - Eb - F
Let's check the Db major scale.
If we use our major scale template starting with Db, we will get the following picture (a very confusing picture) of the Db major scale:
Now I know why smart Musicians decided to create the Key Signatures of the scales.
For beginner/amateur musicians - it's me - (and paper-wise "knowledgeists") would be difficult to figure out those DIATONIC notes, but...
If we place all those Flats in the key signature,
then,
ANY notes that do NOT have ANY accidentals in front of them, will be DIATONIC to the Db major scale.
I hope that the OP now can answer his/her question,
because,
the MODES ARE DIATONIC.
(R) W - W - H - W - W - W - H
Let's try that template while starting with the note - G.
Here is how it looks on the piano.
And here is what we got.
Our Template/Formula indicated that we have F# in the G major scale.
"Because F always(!!!) means F# in the G Major scale, it is inconvenient to do this every time the note is used. Instead, a sharp can be placed at the start of every staff, to indicate that all F notes are to be played sharp."
It is known as the key signature of the G major scale.
As you can see, we do NOT have ANY accidentals in front of ANY notes from the G major scale.
To sum up my comment.
If we write/indicate F# in the key signature of the G major scale,
then,
ANY notes without ACCIDENTALS in front of them will be DIATONIC to the G major scale.
Examples:
The following notes are DIATONIC to the G major scale:
A - C - E - D - A - B - F# - E ,
but
the following notes are NOT DIATONIC to the G major scale:
Bb - Db - Eb - F
Let's check the Db major scale.
If we use our major scale template starting with Db, we will get the following picture (a very confusing picture) of the Db major scale:
Now I know why smart Musicians decided to create the Key Signatures of the scales.
For beginner/amateur musicians - it's me - (and paper-wise "knowledgeists") would be difficult to figure out those DIATONIC notes, but...
If we place all those Flats in the key signature,
then,
ANY notes that do NOT have ANY accidentals in front of them, will be DIATONIC to the Db major scale.
I hope that the OP now can answer his/her question,
because,
the MODES ARE DIATONIC.
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I've been commenting a lot about the meaning of the word, "DIATONIC".
To SO many TB members it's such a simple and well-known (and memorized fact); therefore,
in order to create some "tensions" (Music MUST have tensions), I'd like to ask one question.
Let's get back to that "Happy Birthday" song.
I've highlighted the melody - no Flats, no Sharps, but...
The comping piano plays Cdom7 - C - E - G - Bb - C - chord that has Bb note in it.
There is NO Bb in the KEY of the song.
Does that "chromatic" note (as the opposite of "DIATONIC) in the accompaniment changes our overall DIATONIC melody?
What's more, what about that "natural" Si or Ti, or B in the melody?
It should be NO accidentals - the sharp (♯), flat (♭), and natural (♮) symbols, etc... - in order to say that the Melody is DIATONIC.
To SO many TB members it's such a simple and well-known (and memorized fact); therefore,
in order to create some "tensions" (Music MUST have tensions), I'd like to ask one question.
Let's get back to that "Happy Birthday" song.
I've highlighted the melody - no Flats, no Sharps, but...
The comping piano plays Cdom7 - C - E - G - Bb - C - chord that has Bb note in it.
There is NO Bb in the KEY of the song.
Does that "chromatic" note (as the opposite of "DIATONIC) in the accompaniment changes our overall DIATONIC melody?
What's more, what about that "natural" Si or Ti, or B in the melody?
It should be NO accidentals - the sharp (♯), flat (♭), and natural (♮) symbols, etc... - in order to say that the Melody is DIATONIC.
Here is another question about "DIATONIC".
Is the C Lydian diatonic to the C major scale?
And the answer is NO, because, even though, there are no sharps or flats in the key signature - looks like and IS the key of C major, but we have one accidental - F#.
But...
We have a major scale with one sharp - F# in the key.
It is the G major scale; therefore,
if the MODES are DIATONIC,
then,
the C Lydian is Diatonic to the G major scale.
In short.
Each and every Major Scale comes with seven different Modes ("it comes with the territory"), and
those MODES are DIATONIC to that particular Major scale.
It means the following:
If we have the correct key signature for that particular major scale,
then,
all the notes from that can NOT have any accidentals in front of them,
which means that all those notes are DIATONIC to that particular major scale,
and all seven MODES of that major scale will use the same DIATONIC notes from that scale.
I hope that now all beginner/amateur musicians (including me) have a solid understanding about the word, "DIATONIC".
Is the C Lydian diatonic to the C major scale?
And the answer is NO, because, even though, there are no sharps or flats in the key signature - looks like and IS the key of C major, but we have one accidental - F#.
But...
We have a major scale with one sharp - F# in the key.
It is the G major scale; therefore,
if the MODES are DIATONIC,
then,
the C Lydian is Diatonic to the G major scale.
In short.
Each and every Major Scale comes with seven different Modes ("it comes with the territory"), and
those MODES are DIATONIC to that particular Major scale.
It means the following:
If we have the correct key signature for that particular major scale,
then,
all the notes from that can NOT have any accidentals in front of them,
which means that all those notes are DIATONIC to that particular major scale,
and all seven MODES of that major scale will use the same DIATONIC notes from that scale.
I hope that now all beginner/amateur musicians (including me) have a solid understanding about the word, "DIATONIC".
N.B. We are trying to learn the basics of MODES. We are not arguing about how good/great or how bad/and wrong those Modes are!
We are just learning Music THEORY created, written, and accepted by People/Musicians.
(P.S. If somebody wants to really dig into those Gregorian Chants, here is a very nice book,
"The Parish Book of Chant"
http://media.musicasacra.com/books/pbc_2nd.pdf_)
I'm just interested in the following description of Modes (and specifically, the Dorian):
"The modes are determined by the final note(!!!) (or tonic) and the dominant note (or tenor).
I Dorian (final: Re; dominant: La)...
From here:
mode | music
"Each mode comprises a diatonic scale with the compass of one octave. The modes are classified by their finalis, the usual final note of a melody in that mode.
In the following chart of the ... church modes, the finalis is marked by a capital letter:"
In short.
In order to determine a/any Modes we have to know the Final note - FINALIS.
From here:
The Medieval Church Modes, Dorian Scales & Mixolydian Scales
Also, from here:
Music Tutor: Church Modes
Here are a few more quotes info about that Final Note - FINALIS.
"In the original modal system of the early Western music, the principal note of the mode was called finalis because
any piece based on that mode would always terminate on that node.
The intervals of all the other notes with respect to the finalis fully defined the mode; the main cadences available to fall back from these notes onto the finalis would further define the way the mode should be used."
In short.
That FINAL note - FINALIS - is a very important note in order to figure out the Mode.
Here is my observation (or recommendation).
Instead of this,
"The dorian mode starts(!) on the second scale degree of the major scale, which changes the pattern to W H W W W H W...", which changes the pattern to W H W W W H W..."
I would suggest the following:
"The dorian mode ENDS(!) on the second scale degree of the major scale
(and also,"The dorian mode starts(!) on the second scale degree of the major scale,...") , which changes the pattern to W H W W W H W..."
Let's emphasize that FINALIS note in order to determine the MODE.
One more thing.
We have another note from the MODES called,
characteristic modal note.
"The characteristic modal note is extremely important in modal compositions, because it is the note that establishes the unique feel of the mode."
Dorian mode:
The major 6th is what differentiates the Dorian mode from the Aeolian mode;
the 6 is therefore the characteristic modal note of the Dorian mode.
In our case, the characteristic note - CN - of the D Dorian mode is B.
Here is an interesting read.
What Is a Mode?
"So any tune I start on D using only white keys will be Dorian?
If it were quite that easy, you wouldn’t need a class. It’s helpful, at least at first, to begin and end your melody on the finalis, so if you want Dorian, that’s D. Play a short series of notes and come back to D. It’s almost impossible that your tune isn’t Dorian. Let’s look at this sequence:
D-F-G-A-G, F-G-F-E-D...."
....
More reading from the same web-site:
"I have a good ear. Can’t I start my melody somewhere other than the finalis?
Sure. Many pieces start somewhere else, though most end up on the finalis (hence the name). If you’ve played or sung for awhile, you can probably hear the underlying finalis in a melody regardless of whether you’re ever hitting it. If you can’t, try playing the 1st-5th chord and see if it works. Note: If the melody is modern and it starts on something bizarre like the 7th or the 2nd above the octave, you won’t get a good result. Try singing the last note in the song and playing 1st-5th. Finalis, remember? If you can’t figure it out from the beginning, try the end."
And more,
"Can I use this trick to find out what mode my favorite song is in?
Of course. Just determine the finalis by trying some 1st-5th combinations as above and start playing the song using C where the finalis belongs. If you can play it on all white notes, it’s Ionian. No? Try D. If you hit all white notes, it’s Dorian, etc. If you know the song is in a major key, start with Ionian and then try Mixolydian if Ionian doesn’t work. If you know it’s in a minor key, try Aeolian, then Dorian if Aeolian doesn’t work..."
We are just learning Music THEORY created, written, and accepted by People/Musicians.
(P.S. If somebody wants to really dig into those Gregorian Chants, here is a very nice book,
"The Parish Book of Chant"
http://media.musicasacra.com/books/pbc_2nd.pdf_)
I'm just interested in the following description of Modes (and specifically, the Dorian):
"The modes are determined by the final note(!!!) (or tonic) and the dominant note (or tenor).
I Dorian (final: Re; dominant: La)...
From here:
mode | music
"Each mode comprises a diatonic scale with the compass of one octave. The modes are classified by their finalis, the usual final note of a melody in that mode.
In the following chart of the ... church modes, the finalis is marked by a capital letter:"
In short.
In order to determine a/any Modes we have to know the Final note - FINALIS.
From here:
The Medieval Church Modes, Dorian Scales & Mixolydian Scales
Also, from here:
Music Tutor: Church Modes
Here are a few more quotes info about that Final Note - FINALIS.
"In the original modal system of the early Western music, the principal note of the mode was called finalis because
any piece based on that mode would always terminate on that node.
The intervals of all the other notes with respect to the finalis fully defined the mode; the main cadences available to fall back from these notes onto the finalis would further define the way the mode should be used."
In short.
That FINAL note - FINALIS - is a very important note in order to figure out the Mode.
Here is my observation (or recommendation).
Instead of this,
"The dorian mode starts(!) on the second scale degree of the major scale, which changes the pattern to W H W W W H W...", which changes the pattern to W H W W W H W..."
I would suggest the following:
"The dorian mode ENDS(!) on the second scale degree of the major scale
(and also,"The dorian mode starts(!) on the second scale degree of the major scale,...") , which changes the pattern to W H W W W H W..."
Let's emphasize that FINALIS note in order to determine the MODE.
One more thing.
We have another note from the MODES called,
characteristic modal note.
"The characteristic modal note is extremely important in modal compositions, because it is the note that establishes the unique feel of the mode."
Dorian mode:
The major 6th is what differentiates the Dorian mode from the Aeolian mode;
the 6 is therefore the characteristic modal note of the Dorian mode.
In our case, the characteristic note - CN - of the D Dorian mode is B.
Here is an interesting read.
What Is a Mode?
"So any tune I start on D using only white keys will be Dorian?
If it were quite that easy, you wouldn’t need a class. It’s helpful, at least at first, to begin and end your melody on the finalis, so if you want Dorian, that’s D. Play a short series of notes and come back to D. It’s almost impossible that your tune isn’t Dorian. Let’s look at this sequence:
D-F-G-A-G, F-G-F-E-D...."
....
More reading from the same web-site:
"I have a good ear. Can’t I start my melody somewhere other than the finalis?
Sure. Many pieces start somewhere else, though most end up on the finalis (hence the name). If you’ve played or sung for awhile, you can probably hear the underlying finalis in a melody regardless of whether you’re ever hitting it. If you can’t, try playing the 1st-5th chord and see if it works. Note: If the melody is modern and it starts on something bizarre like the 7th or the 2nd above the octave, you won’t get a good result. Try singing the last note in the song and playing 1st-5th. Finalis, remember? If you can’t figure it out from the beginning, try the end."
And more,
"Can I use this trick to find out what mode my favorite song is in?
Of course. Just determine the finalis by trying some 1st-5th combinations as above and start playing the song using C where the finalis belongs. If you can play it on all white notes, it’s Ionian. No? Try D. If you hit all white notes, it’s Dorian, etc. If you know the song is in a major key, start with Ionian and then try Mixolydian if Ionian doesn’t work. If you know it’s in a minor key, try Aeolian, then Dorian if Aeolian doesn’t work..."
Attachments
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Just a few quotes about those Modes (without getting too deep) from an excellent book,
"Music and Twentieth-Century Tonality Harmonic Progression Based on Modality and the Interval Cycles"
by Paolo Susanni and Elliott Antokoletz
"Modes are constructed according to a specific and fixed succession of whole and
half steps that render each mode unique."
"All modal pitch relationships are perceived and understood as relative to the tonic."
"A mode cannot be altered without it losing its identity. If notes foreign to the mode are temporarily introduced into the musical texture, they will be heard as chromatic intrusions and understood as embellishments not belonging to it.
These intrusions do not threaten modal integrity due to their rhythmic disposition, but rather serve to embellish the diatonic-modal tones.
"If, however, the structure of the mode is permanently altered, that is, the modal
element is altered, then a change of mode takes place."
"Music and Twentieth-Century Tonality Harmonic Progression Based on Modality and the Interval Cycles"
by Paolo Susanni and Elliott Antokoletz
"Modes are constructed according to a specific and fixed succession of whole and
half steps that render each mode unique."
"All modal pitch relationships are perceived and understood as relative to the tonic."
"A mode cannot be altered without it losing its identity. If notes foreign to the mode are temporarily introduced into the musical texture, they will be heard as chromatic intrusions and understood as embellishments not belonging to it.
These intrusions do not threaten modal integrity due to their rhythmic disposition, but rather serve to embellish the diatonic-modal tones.
"If, however, the structure of the mode is permanently altered, that is, the modal
element is altered, then a change of mode takes place."
P.S. Off-topic. Once upon a time (many decades ago), I used to like "One Man Show" for Men perfume.
Now, I can use that name/expression "One Man Show" for my blah-blah-blah... about the Modes.
P.S. Learning Modes - it's not a PANACEA to Learning Music.
The Modes (not the advanced - Current ones) are very "stubborn", "dogmatic", "fixed", etc...
(And, probably, boring?
)
It's good that around the 16th century, smart people "invented" Tonal Harmony.
Anyway, here are a few excerpts from an interesting book, "Contemplating Music" telling us about that "evolving harmonization" of Modes/Tunes/Melodies/etc...
From here:
Contemplating Music
Now, I can use that name/expression "One Man Show" for my blah-blah-blah... about the Modes.
P.S. Learning Modes - it's not a PANACEA to Learning Music.
The Modes (not the advanced - Current ones) are very "stubborn", "dogmatic", "fixed", etc...
(And, probably, boring?
)It's good that around the 16th century, smart people "invented" Tonal Harmony.
Anyway, here are a few excerpts from an interesting book, "Contemplating Music" telling us about that "evolving harmonization" of Modes/Tunes/Melodies/etc...
From here:
Contemplating Music
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To my regret, due to "attrition" (and "infectious" boredom) we need to conclude our one-way "discussion" about
"Modes. Am I getting this right?"
Just a few quotes.
Major modes - Lydian mode:
The #4 is the characteristic modal note of the Lydian mode.
Major modes - Mixolydian mode:
The b7 is the characteristic modal note of the Mixolydian mode.
Minor modes - Dorian mode:
The 6 is the characteristic modal note of the Dorian mode.
Minor modes - Phrygian mode:
The b2 is the characteristic modal note of the Phrygian mode.
Minor modes - Locrian mode:
The b5 is the characteristic modal note of the Locrian mode.
Our "wheels" of this "discussion came off before we entered the "harmonization" stage...
"Modes. Am I getting this right?"
Just a few quotes.
Major modes - Lydian mode:
The #4 is the characteristic modal note of the Lydian mode.
Major modes - Mixolydian mode:
The b7 is the characteristic modal note of the Mixolydian mode.
Minor modes - Dorian mode:
The 6 is the characteristic modal note of the Dorian mode.
Minor modes - Phrygian mode:
The b2 is the characteristic modal note of the Phrygian mode.
Minor modes - Locrian mode:
The b5 is the characteristic modal note of the Locrian mode.
Our "wheels" of this "discussion came off before we entered the "harmonization" stage...
Now we are mixing stuff together ... because we enter the world of harmony. it is like we go in a different key for a bar and this is it. But if you look at it, the bar with that C7 doesn't have a Bb in the melody so no clashing.
Yes, it's a new "world" - the Harmonized Modes(? - WUTP).
I know, Clef, you are more advanced; therefore, here is for you a more advanced topic,
"Harmonizing C major Scale - the major scale Modes in Fourths".
Taken from here:
Harmonizing Scales in Fourths | Cochrane Music
Here is the regular harmonization in thirds:
Here is "Harmonizing C major scale in Fourths":
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Barely starting with that "Harmonizing the major - C - scale modes".
Could anyone tell me why I highlighted G7 in the following examples?
From here:
Guitar Practice Made Easy
Could anyone tell me why I highlighted G7 in the following examples?
From here:
Guitar Practice Made Easy
Just a question while we are entering the "Mode Harmonization" stage.
Here is a statement from a Teacher/Guitar Player.
From here:
https://guitarlessons365.com/scores/feb2010/WritingModalProgressions.pdf
Is the author/teacher/guitar player correct that "good modal harmony actually must be Static/does not need to have any progress at all?
Here is a statement from a Teacher/Guitar Player.
From here:
https://guitarlessons365.com/scores/feb2010/WritingModalProgressions.pdf
Is the author/teacher/guitar player correct that "good modal harmony actually must be Static/does not need to have any progress at all?
I have found an interesting web-site about Tonal vs Modal Harmony and highly recommend it for anyone who wants to learn about Modal Harmony (the basics).
From here:
Tonal vs Modal Harmony
A few excerpts from that web-site.
"Tonality
So let’s begin with tonality. 99% of songs you hear day to day are in tonal harmony.
Tonality has the following features:
Modality
Modality has the following features:
But because there is no ‘functional harmony’ the chords DO NOT feel like they need to resolve to the tonic or Dm7 chord. Each chord just floats there by itself as a standalone entity.
In order to achieve this you have to avoid playing the diatonic tritone – because this tritone interval creates a dissonance which sounds like a Dominant Chord and feels like it wants to resolve to the Tonic Chord, thus turning the music tonal.
Because modal chords don’t have ‘functions’, they don’t have to go anywhere (i.e. they don’t have to go to the tonic). They just float around. So modal songs usually don’t have chord progressions. They just state a key/scale/mode the song is in and it’s your job to play any diatonic chord (i.e. Dm7, Em7, FMaj7, G7, Am7, Bø7, & CMaj7 in the key of D Dorian) and make your own ‘chord progression’..."
More from here:
Tonal vs Modal Harmony
Here is the same info only as YouTube video.
From here:
Tonal vs Modal Harmony
A few excerpts from that web-site.
"Tonality
So let’s begin with tonality. 99% of songs you hear day to day are in tonal harmony.
Tonality has the following features:
- It uses Major and minor keys
- It uses a Functional Harmony (!!!- WUTP)
- It has a Tonal Center (i.e. root note)
Modality
Modality has the following features:
- It uses all modes (Ionian, Dorian, Phrygian, etc.)
- It does NOT use a Functional Harmony (!!!- WUTP)
- It has a Tonal Center (i.e. root note)
But because there is no ‘functional harmony’ the chords DO NOT feel like they need to resolve to the tonic or Dm7 chord. Each chord just floats there by itself as a standalone entity.
In order to achieve this you have to avoid playing the diatonic tritone – because this tritone interval creates a dissonance which sounds like a Dominant Chord and feels like it wants to resolve to the Tonic Chord, thus turning the music tonal.
Because modal chords don’t have ‘functions’, they don’t have to go anywhere (i.e. they don’t have to go to the tonic). They just float around. So modal songs usually don’t have chord progressions. They just state a key/scale/mode the song is in and it’s your job to play any diatonic chord (i.e. Dm7, Em7, FMaj7, G7, Am7, Bø7, & CMaj7 in the key of D Dorian) and make your own ‘chord progression’..."
More from here:
Tonal vs Modal Harmony
Here is the same info only as YouTube video.
P.S. I am (almost) in agreement with the highlighted statement below.
(Any ideas?)
From here:
Modal vs. tonal harmony
(Any ideas?)
From here:
Modal vs. tonal harmony
Modes always command more attention than what they are worth.
I did mess around with them in my electric guitar days, however, now that I play bass I very seldom use modes.
Let's get back to basic "harmonization of the major scale".
About Tonal Harmony.
"Tonal harmony based on major and minor keys is usually called functional harmony.
The most important functions of the chords are subdominant, dominant, and tonic (S, D, T).
They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. Tonal harmony without these main functions is called modal harmony."
From here:
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"Functional harmony relates to the way in which chords interact and we have three categories that all of the chords in a tonal series fall into. We have already introduced terms such as tonic and dominant. These are two of the three functional categories of harmony. The third category is sub-dominant and it is how each category or area of harmonic character creates certain conditions or expectations in the ear of the listener that gives us a basis to analyse a series of chords or chord progression. In contemporary music, in contrast to classical music which focuses on melodic structures as the main compositional tool, we use chords and chord progression as the main compositional tool or focus. So it is easy to see as we have already established the prominence of tonic as a main focus in the organisation of music that the first and foremost category of harmonic function is known as tonic function.
The tonic function has the same main characteristic as the tonic pitch that is resting or resolution. This often means the conclusion of a music thought, sentence or phrase and in this case series of chords.
Subdominant Function The subdominant functioning chord has a function of action, unrest or leading to another chord. Often a subdominant functioning chord will lead to a dominant functioning chord.
Dominant Function
The dominant functioning chord is the most active or unrestful and usually leads to a resolution. Often a dominant functioning chord will lead to the tonal center chord, tonic functioning chords or another dominant functioning chord."
Read here:
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The 7 diatonic chords of the harmonized major scale - Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone can be placed into three groups:
About Tonal Harmony.
"Tonal harmony based on major and minor keys is usually called functional harmony.
The most important functions of the chords are subdominant, dominant, and tonic (S, D, T).
They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. Tonal harmony without these main functions is called modal harmony."
From here:
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"Functional harmony relates to the way in which chords interact and we have three categories that all of the chords in a tonal series fall into. We have already introduced terms such as tonic and dominant. These are two of the three functional categories of harmony. The third category is sub-dominant and it is how each category or area of harmonic character creates certain conditions or expectations in the ear of the listener that gives us a basis to analyse a series of chords or chord progression. In contemporary music, in contrast to classical music which focuses on melodic structures as the main compositional tool, we use chords and chord progression as the main compositional tool or focus. So it is easy to see as we have already established the prominence of tonic as a main focus in the organisation of music that the first and foremost category of harmonic function is known as tonic function.
The tonic function has the same main characteristic as the tonic pitch that is resting or resolution. This often means the conclusion of a music thought, sentence or phrase and in this case series of chords.
Subdominant Function The subdominant functioning chord has a function of action, unrest or leading to another chord. Often a subdominant functioning chord will lead to a dominant functioning chord.
Dominant Function
The dominant functioning chord is the most active or unrestful and usually leads to a resolution. Often a dominant functioning chord will lead to the tonal center chord, tonic functioning chords or another dominant functioning chord."
Read here:
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The 7 diatonic chords of the harmonized major scale - Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone can be placed into three groups:
An interesting (maybe, too complex) table of "Chord Functions".
From here.
Chord Functions for Musical Analysis
From here.
Chord Functions for Musical Analysis
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