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26: Subdominant & Dominant

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Lesson 26: Subdominant & Dominant

This lesson teaches the subdominant and dominant chord functions. This is part of understanding how the different diatonic chords "work" in chord progressions.

Before taking this lesson, you should know: the tonic chord function (Lesson 25: Tonic Function).

To review, the common major-key diatonic triads are:

I   IIm   IIIm   IV   V   VIm

This lesson explores IIm, IV, and V.

The Subdominant Chords: IV and IIm

The IV chord. Subdominant is just a name for "scale degree 4", so "the" subdominant chord is the IV chord.

Subdominant function. A subdominant chord feels like you've moved away from the home chord. It's extremely common for the I chord to be followed by a subdominant chord.

The IIm chord. The IIm chord also has subdominant function, meaning that is has a "moved away from home" effect similar to the IV chord. Notice that two of the pitches (namely, scale degrees 2 and 4 of whatever key the song is in) in the IIm and IV chords are the same pitches. In fact, these two chords are pretty interchangeable. Reasons a song might choose one or the other include:
  • To create a desired root motion (bassline);
  • The musical style. In jazz, IIm is more common (except it's usually used in its "jazz version", IIm7); in rock/folk/country (and classical music), IV is more common (or, in blues, IV7).

The Dominant Chord: V

Scale degree 5 is called the dominant; so, the V chord is called the dominant chord.

Dominant function. The dominant chord (the V chord) feels like it want to return to the home chord; it's extremely common for the dominant chord to be followed by the I chord.

The Typical Diatonic-Function Sequence

Since tonic "tends to go to" subdominant, and dominant "tends to go to" tonic, the most typical sequence of diatonic functions is:

Tonic -> Subdominant -> Dominant -> Tonic

This sequence has a conventional "advancing" ("moving forward") feeling. If a chord sequence reverses this order (tonic -> dominant, dominant -> subdominant, subdominant -> tonic), it tends to sound like it's retreating. That's how I describe it, anyway; but these effects are subtle and subjective. You should decide for yourself what you think the effects of different diatonic-function sequences are, by studying the sequences in various songs.

In fact, that's the subject of the next lesson, Lesson 27: Diatonic Function Analysis.

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1: Introduction
2: Practicing Songwriting
3: Pitch Names
4: Letters Game
5: Sharps & Flats
6: Half-Steps
7: Whole-Steps
8: Steps Game
9: Scales
10: Major Scale 1-2-3
11: Major 1-2-3 Games
12: Major Scale 1-5
13: Major 1-5 Games
14: Chords: Major Triads
15: Major Triad Games
16: Minor Triads
17: Minor Triad Games
18: Major Scale 1-8
19: Major Scale Games
20: Keys
21: Roman Numeral Chords
22: Scales Above 8
23: Diatonic Triads
24: Using Diatonics
25: Tonic Function
26: Subdominant & Dominant
27: Diatonic Function Analysis
28: Melody: Chord Tones
29: Treble Staff
30: Treble Staff Game
31: Time: Beats & Measures
32: Note Lengths
33: Tied & Dotted Notes
34: Rhythm: Rests
35: Melody Rhythm: Rolling Stone
36: Major Pentatonic Scale
37: 7th Chords
38: 7ths Games
39: Pitch & Frequency

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