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One equals three equals six I=iii=vi
Two equals four ii=IV
and Five equals seven V=vii
Follow That Dream Sam Karaoke King -------------------- Turning that corner again - I have to keep following that dream, no matter what
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Hi Sam. I don't think so. What does this mean?
EDIT: got it; useful.
Last edited by Matt Finley; 01/15/11 09:50 PM.
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That for most songs you can substitute chords as I have laid them out. Country / Folk - not Jazz of course. It does work. I am talking triads here of course
Follow That Dream Sam Karaoke King -------------------- Turning that corner again - I have to keep following that dream, no matter what
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BIAB 2024 Win Audiophile. Software: Studio One 6.5 Pro, Swam horns, Acoustica-7, Notion 6; Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus Studio 192, Presonus Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors
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Follow That Dream Sam Karaoke King -------------------- Turning that corner again - I have to keep following that dream, no matter what
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It means, for triads, you are playing inversions, adding and leaving out one note at a time. This works in a basic way and generally sounds good.
BIAB 2024 Win Audiophile. Software: Studio One 6.5 Pro, Swam horns, Acoustica-7, Notion 6; Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus Studio 192, Presonus Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors
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Follow That Dream Sam Karaoke King -------------------- Turning that corner again - I have to keep following that dream, no matter what
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Hi Sam,
Essentially, there are three main harmonic functions. There are the tonic, the subdominant and the dominant functions.
The tonic function has a sense of being at "home-base". The subdominant function is a chord that gives a feeling of going somewhere (it will progress to either the dominant or tonic function chords). The dominant function has a strong musical lean to the tonic function.
In a major key,
Chords I, iii, vi are tonic functions.
Chords ii, IV are subdominant functions.
Chords V, vii are dominant functions.
A standard harmonic movement in music is tonic(T) - subdominant(S) - dominant(D) - tonic.
Using the above chords in the key of C major, the T - S - D - T motion could be...
1) C - F - G - C
2) C - Dm - G - Am
3) (C - Em) - F - G - Am (where the T function has been shared between two chords)
et cetera.
Hope this gives you some useful insight,
Noel
Last edited by Noel96; 01/16/11 10:35 AM.
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Quite agreed, Noel. Thanks
Follow That Dream Sam Karaoke King -------------------- Turning that corner again - I have to keep following that dream, no matter what
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Thank you Noel.... I have never seen or heard it spelled out so simply and elegantly. Those are insights that I, and I imagine others, arrived at only after years of plunking away (maybe I should have read a book or two early on.) Daisy 
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Hi Daisy, Thank you  The above technique of chord substitution is usually referred to as "substitution by function". It's a great songwriting tool to keep in mind. There's a book by Jai Josefs called "Writing Music For Hit Songs" that approaches writing music and harmony from the perspective of Tonic, Subdominant and Dominant. I found it a very eye-opening book and highly recommend it. I'm not sure about this, but I don't think that the book is printed any longer; I just had a look and Amazon, though, and they have some for sale. This book completely revolutionized the way that I look at music. I have re-read it a couple of times since buying it. If you have knowledge of music, I strongly encourage to try and get hold of a copy. You won't be disappointed. Regards, Noel
Last edited by Noel96; 01/16/11 03:10 AM.
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The beauty of theories is that there are so many of them to choose from!  While TSDT is a strong harmonic progression, it's by no means the only means of organizing material harmonically. For example, other harmonic pattern include : - Circle of fifths (dominant->tonic G7 - C)
- Linear (stepwise: Em - F)
- Related chords (shared tones: Am - C)
For example, Noel's first example: C - F - G - Cis the classic TSDT motion. But you can also see the movement F - G as a linear motion. The substitution: C - Dm - G - Amcreates a different harmonic movement - the Dm - G has the Dm functioning as the dominant to the G. And the C - Dm and G - Am can be seen as a linear movement. The third example: C - Em - F - G - Amcan also be seen as a chain of linear motion. That's not to say that TSDT isn't also present. But the Am substituting for the C in the progression weakens cadence, and makes a linear progression a better candidate for an explanation - all other things being equal (which they never are!). It also helps to understand why particular chords are considered "dominant", and so on. For example, the vii chord is considered a dominant because it can be seen as a V7 chord without the root. In the key of C, V7 is (G B D F), and vii is (B D F). But it doesn't always function that way. Because the chord is built from a stack of minor thirds, any of the notes of the vii chord can be considered the root. So it's often used in jazz arrangements when you need to harmonize a passing note but don't want give it any particular tonality. The relationship between the IV and ii chords are the Major/relative minor, so treating them as the subdominant is widely agreed on. But you can also relate them as to the number of notes the share - two of the three notes in the triad are shared. So it may make sense to look at the harmonic movement along those lines, too. Treating the iii as a tonic function is something that's not seen much. More typically, it's seen as the relative minor of the V chord. So instead of grouping the iii with the tonic, it's more typically seen as part of the dominant. That is, the progression: C - Em - Gwould have the Em function as related to the G, not as an extension of the C chord. More typically, the vi, the relative minor of I shares the tonic function. The really cool thing is that music can often have multiple functions at the same time. For example, you can have a progression which is primarily a I - IV - V - I, but emphasize the linear motion as well, such as: C - C/E - Dm/F - Em/G - F/A - G/B - Am/C - CLeonard Bernstein argued that the ambiguity created by being able to have this sort of parallel function is one of the things that makes it so attractive.
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