In this post, we’ll dive into the basic concepts of functional harmony. We will uncover what it is, what it’s for, and how you\u2014as a musician, composer, or arranger\u2014can use it to deepen your understanding and enhance your art.<\/p>\n\n\n\n
A Brief Recap: What is Harmony?<\/h4>\n\n\n\n
Before we talk about “function,” let’s remember what “harmony” is. If melody<\/strong> is the succession of notes over time, a horizontal line we can hum, harmony<\/strong> is the combination of notes sounding at the same time, a vertical dimension that gives depth, color, and context to the melody.<\/p>\n\n\n\n Think of music as a piece of fabric. The melody is the main thread that creates the pattern, while the harmony consists of all the other interwoven threads that create the texture, richness, and structure of the piece. Functional harmony is the logic that governs how these threads intertwine in the most cohesive and impactful way.<\/p>\n\n\n\n To understand function, we first need to know our “cast” of chords. This cast comes from what we call the Harmonic Field<\/strong> (or diatonic harmony), which is simply the set of chords formed from each note of a particular scale.<\/p>\n\n\n\n Let’s use the clearest example of all: the C Major scale (C D E F G A B). If we build a three-note chord (a triad) on each of these notes, using only the white keys of the piano (that is, the notes from the scale itself), we get the following result:<\/p>\n\n\n\n These seven chords are the family, the DNA of the key of C Major. It is from the relationship between them that the magic of functional harmony happens. We represent these chords with Roman numerals, using uppercase for major chords and lowercase for minor chords.<\/p>\n\n\n\n Within this family of chords, three of them play the leading roles. They are the pillars that support the entire structure and create harmonic movement. Their functions are so clear that we can describe them with metaphors:<\/p>\n\n\n\n Think of the music as a short story:<\/p>\n\n\n\n This If music only used these three chords, it would be functional, but perhaps a bit predictable. This is where the other chords from the harmonic field come into play, acting as “substitutes” or “representatives” of the main functions. They can perform similar roles because they share common notes with the primary chords, adding new colors and nuances to the harmonic landscape.<\/p>\n\n\n\n If chords and their functions are the words, cadences<\/strong> are the punctuation. A cadence is a progression of two or more chords that ends a phrase, section, or the entire piece, creating different feelings of finality. The most important ones are:<\/p>\n\n\n\n So, how do we discover all this in a song? Through harmonic analysis<\/strong>. To analyze a song harmonically is the process of “translating” the written chords (C, G, Am, F) into the Roman numerals of their functions (I, V, vi, IV).<\/p>\n\n\n\n What is it for?<\/strong><\/p>\n\n\n\n This is where functional harmony ceases to be just theory and becomes a powerful creative tool. The process of reharmonization<\/strong><\/a> is nothing more than consciously applying these concepts to alter a song’s original harmony.<\/p>\n\n\n\n A simple technique is to use functional substitutes. If a passage in the music has the progression A more advanced technique, very common in Jazz, MPB, and Bossa Nova, is the use of Secondary Dominants<\/strong>. Remember how the Dominant chord (V) creates a strong pull towards the Tonic (I)? What if we could create that same pull towards other<\/em> chords in the harmonic field?<\/p>\n\n\n\n That’s exactly what a secondary dominant does. For example, in the key of C Major, our Compare these two progressions:<\/p>\n\n\n\n The second version has much greater movement and harmonic richness. The music of Tom Jobim, for example, is a masterclass in the elegant and expressive use of secondary dominants and Functional harmony is not a set of rules that traps you, but a map that sets you free. It gives you knowledge of the terrain so you can navigate with intention, whether you’re following the well-trodden paths or exploring shortcuts and unexpected landscapes.<\/p>\n\n\n\n By understanding the functions of Tonic, Dominant, and Subdominant, you gain the power to manipulate the most fundamental emotions in music: tension and release. By mastering substitutes, cadences, and techniques like secondary dominants, you expand your color palette to paint increasingly rich and original sonic pictures.<\/p>\n\n\n\n The next time you listen to your favorite song, try to listen with “functional ears.” Notice the journey of the harmony. Feel the tension of the dominant asking to come home, the calm of the subdominant, the surprise of a deceptive cadence. You will discover a new layer of genius and intention behind the emotion you’ve always felt.<\/p>\n\n\n\n The Berklee Book of Jazz Harmony | Jazz Music Theory Workbook for Composition and Improvisation | Jazz Book with Sheet Music for Intermediate Players | All Instruments Study Guide<\/p>\n\n\n\n <\/a><\/p>\n\n\n\n <\/a><\/p>\n\n\n\n Functional Harmony: v. 1 by William Toutant (1985-01-03)\u00a0Paperback \u2013<\/a><\/p>\n\n\n\n Harmony in Popular Music:<\/a> Tonal, Modal and Negative Harmony in Modern Music<\/p>\n\n\n\n by Alfonso Girardo | Sep 19, 2023<\/p>\n\n\n\nThe Foundation of Everything: The Harmonic Field<\/h4>\n\n\n\n
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The Three Driving Forces: Harmonic Functions<\/h4>\n\n\n\n
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I \u2013 IV \u2013 V \u2013 I<\/code> journey is the basis of countless songs, from nursery rhymes to major rock and pop hits.<\/p>\n\n\n\nExpanding the Vocabulary: Substitute Functions<\/h4>\n\n\n\n
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iii<\/code> (Em) and vi<\/code> (Am) chords share notes with the Tonic chord and can be used to create a sense of relative rest, a slightly more melancholic or thoughtful repose than the main chord. The I \u2013 vi \u2013 IV \u2013 V<\/code> progression is perhaps the most famous in pop music, found in songs like “Stand By Me” by Ben E. King.<\/li>\n\n\n\nii<\/code> (Dm) chord is the main substitute for the Subdominant (IV). It has a very similar sound and fulfills the same “moving away” function. The ii \u2013 V \u2013 I<\/code> progression is the bread and butter of Jazz and Bossa Nova. The intro to “The Girl from Ipanema” (Tom Jobim\/Vinicius de Moraes) is a classic example, where the harmony moves IVmaj7 \u2013 V7<\/code>, but the melody and verses are built over numerous iim7 \u2013 V7<\/code> progressions.<\/li>\n\n\n\nvii\u00b0<\/code> (Bdim) chord shares crucial notes with the Dominant and also creates strong tension that asks for resolution to the tonic, although its sound is more unstable and dissonant.<\/li>\n<\/ul>\n\n\n\nThe Punctuation of Music: What are Cadences?<\/a><\/h4>\n\n\n\n
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I<\/code>, the composer “deceives” us and resolves to the vi<\/code> chord instead. This creates a dramatic effect, postponing the conclusion and injecting a dose of melancholy. The progression in the verse of “Someone Like You” by Adele masterfully uses this device to convey a sense of unresolved expectation.<\/li>\n<\/ul>\n\n\n\nUnder the Magnifying Glass: What is Harmonic Analysis?<\/h4>\n\n\n\n
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I \u2013 vi \u2013 IV \u2013 V<\/code> progression, you can transpose it to any key instantly. In G Major, for example, it would be G \u2013 Em \u2013 C \u2013 D<\/code>.<\/li>\n\n\n\nFrom Theory to Practice: Functional Harmony in Arrangements and Compositions<\/a><\/h4>\n\n\n\n
C \u2013 F \u2013 C<\/code> (I \u2013 IV \u2013 I), an arranger might decide to replace the F<\/code> (IV) with its substitute, Dm<\/code> (ii), resulting in C \u2013 Dm \u2013 C<\/code> (I \u2013 ii \u2013 I). The overall function (Tonic -> Departure -> Tonic) is maintained, but the color, the sound, changes subtly, perhaps making it smoother or more sophisticated.<\/p>\n\n\n\nii<\/code> chord is D minor (Dm). What would be the dominant of D? It would be A Major with a seventh (A7). The A7 chord doesn’t belong to the harmonic field of C Major (which has an Am), but we can “borrow” it and insert it before the Dm to create a stronger, more interesting harmonic bridge.<\/p>\n\n\n\n\n
C | C | Dm | G7<\/code> (I | I | iim7 | V7<\/code>)<\/li>\n\n\n\nC | A7 | Dm | G7<\/code> (I | V7\/ii | iim7 | V7<\/code>)<\/li>\n<\/ul>\n\n\n\nii-V-I<\/code> progressions.<\/p>\n\n\n\nConclusion: A Map, Not a Prison<\/h4>\n\n\n\n
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