9.6: The Subtonic VII Chord in Popular Music

Last updated
Save as PDF

Page ID: 119816

\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \) \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)\(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\) \(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\)\(\newcommand{\AA}{\unicode[.8,0]{x212B}}\)

9.6 The Subtonic VII Chord in Popular Music

🔗

Although we will discuss mode mixture and the Mixolydian mode later, the ubiquity of the subtonic chord (♭VIIVII) in rock and popular music makes it important to discuss here.

🔗

The ♭VIIVII chord can precede tonic, dominant, and pre-dominant chords, which means it can substitute for any function except tonic.

🔗

🔗 Figure 9.6.1. Harmonic Flowchart for Popular Music with Subtonic VIIVII chord in Major

🔗

Notice also that movement from IVIV–II (from the plagal cadence) is common in the following examples from popular music.

🔗

Here are examples ending with ♭VIIVII–IVIV–II, where IVIV progresses to II (a plagal cadence) and is preceded by ♭VIIVII.

🔗

🔗 Figure 9.6.2. Lennon-McCartney, “Hey Jude” (bass line and chords only) (1968)

🔗

Consider the following questions: When a phrase ends on the IVIV chord, does it have dominant function (i.e, is it a half cadence)? Does IVIV have dominant function in popular music when it progresses to II? If so, does ♭VIIVII have pre-dominant function in the above progression?

🔗

Notice that ♭VIIVII begins the phrase in the following example, and proceeds to a IVIV–II conclusion.

🔗

🔗 Figure 9.6.3. U2, “Desire” (bass line and chords) (1988)

🔗

The following example has ♭VIIVII preceding and following the IVIV chord. Does the ♭VIIVII chord have tonic prolongation as labeled, or is it “pre pre-dominant” in function?

🔗

🔗 Figure 9.6.4. Keith Forsey and Steve Schiff, “Don’t You (Forget About Me)” (bass line and chords) (1985)

🔗

Here is an example with ♭VIIVII cadencing to the II chord in the first four bars then progressing to the vivi chord in a deceptive cadence in the second four bars.

🔗

🔗 Figure 9.6.5. Walter Becker and Donald Fagen, “Reelin’ in the Years” (bass line and chords)