16.5: Overview of Functional Harmony
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The functional harmony chords we have covered so far are the predominant (IV and ii), dominant (V), and tonic (I) harmonies.
Additional Dominant Function
There is a second chord that can function in a dominant capacity because it shares two scale degrees with our dominant (V) chord. Our subtonic chord (leading tone or vii°) that is built on the seventh degree of the scale shares both ti and re with the dominant (V) chord.
As we have previously discussed, the seventh degree of the scale (the leading tone) very strongly wants to resolve up a step to the tonic note. It is this pull that moves our harmony forward. Though the dominant-tonic progression (V-I) is the strongest for a final cadence, the diminished seven (vii°) can also be used in this dominant function.
Submediant
If we return to our strong movement of fifths, the next chord that might come before our predominant chords would be a fifth above our supertonic chord (ii). Continuing with the key of D major, if our minor ii is built on E, the next chord that is a fifth higher would be built on B and be made up of: B, D, and F-sharp. In the key of D major, this is our submediant (vi).
This minor six chord (vi) moves nicely to the minor two (ii).
In the case of a deceptive cadence, the dominant (V) also moves nicely to the submediant (vi).
Mediant
Our final chord that is missing from our chart is the chord built on the third scale degree, our mediant chord (iii). If we count up five notes from our sixth scale degree, we will find that the distance between the submediant (vi) and the mediant (iii) is another perfect fifth. The mediant chord (iii) moves nicely to the submediant (vi). The other way we might see the mediant used is coming before the subdominant (IV).
Another Way to Understand the Chart
This is not an exhaustive resource for creating chord progressions. Can you choose to move between chords in a different order? Of course. Are there combinations that work that aren't listed here? Absolutely.
However, this is a useful guideline when learning what functions well in music to continue the forward momentum. If you are composing, you can use this to change your chord choices slightly to create something more interesting than a basic progression. You might choose one chord progression that uses the four (IV) chord, and the next time through decide to change to the minor two (ii).
An important note about the tonic: as the most important chord in the key, it can go anywhere. Any of these chords can always move to the tonic and the tonic can move to any of these chords.