Unit 3-1: Functional Harmony

Objectives

By the end of this lesson, students will be able to:

Define the terms functional harmony, tonic, dominant, and predominant, and identify chords that belong to each of the functional categories.
Describe and compose functional chord progressions.
Conduct Roman numeral analyses of excerpts that incorporate functional harmony and describe the function of the chords within those progressions.

Preparation for Class

Read:

“Phrases, Cadences, and Harmonic Function” (Andre Mount, Fundamentals, Function, and Form)
“The Pre-Dominant Function” (Andre Mount, Fundamentals, Function, and Form)
“Tonal Areas” (Kaitlin Bove) - Skip past the triad section to the section to “Tonal Areas.” Pay attention to how function is compared to narrative.

Watch

Chord Functions
(2 Min. Music Theory, 2 mins)

Tonic Chords
(2 Min. Music Theory, 3 mins)

Dominant Chords
(2 Min. Music Theory, 2 mins)

Predominant Chords
(2 Min. Music Theory, 2 mins)

Explore

Chord Player: Use the harmonic flow chart in the Reference Aids section below to piece together a few functional chord progressions. Listen for tonic, dominant, and predominant function

Reference Aids

Harmonic Flowcharts for Major and Minor Describing Functional Progressions
Source: Robert Hutchinson, Music Theory for the 21st Century Classroom, “Harmonic Function”

A functional harmony flowchart illustrating common chord progressions in tonal music. The chart is divided into five labeled functional areas: Tonic, Tonic Prolongation, Pre-Dominant, Dominant, and Tonic (returning to the starting point). Below each function, corresponding Roman numeral chords are listed: Tonic: I Tonic Prolongation: iii (with a dashed arrow looping to vi), vi Pre-Dominant: IV (with a dashed arrow looping to ii), ii Dominant: V (with a dashed arrow looping to vii°), vii° Tonic: I (returning from V and vii°) Solid arrows indicate the expected progression between functions, moving from Tonic → Tonic Prolongation → Pre-Dominant → Dominant → Tonic. Dashed arrows represent possible alternative movement within a functional area, such as iii to vi within Tonic Prolongation or IV to ii within Pre-Dominant. A caption at the bottom clarifies that "dashed lines represent possible movement within a functional area." The diagram visually represents standard harmonic progressions used in Western tonal music theory.

A functional harmony flowchart illustrating common chord progressions in minor tonal music. The chart is structured into five functional areas: Tonic (Ton.), Tonic Prolongation (Ton. Prol.), Pre-Dominant (Pre-Dom.), Dominant (Dom.), and Tonic (Ton.) (returning to the starting point). Below each function, the corresponding Roman numeral chords in minor are listed: Tonic: i Tonic Prolongation: VII → III (with a dashed arrow looping to VI), VI Pre-Dominant: iv (with a dashed arrow looping to ii°), ii° Dominant: V (with a dashed arrow looping to vii°), vii° Tonic: i (returning from V and vii°) Solid arrows indicate the expected progression between functions, moving from Tonic → Tonic Prolongation → Pre-Dominant → Dominant → Tonic. Dashed arrows represent possible alternative movement within a functional area, such as III to VI within Tonic Prolongation or iv to ii° within Pre-Dominant. A caption at the bottom explains that "dashed lines represent possible movement within a functional area." The diagram visually represents standard harmonic progressions in minor-key tonal music.

Diatonic Chord Function Chart
Source: Victoria Malawey, Multimodal Musicianship, “Harmonic Function and Cadences”

A table displaying harmonic functions and chord qualities in major and minor keys. The table has three columns: Chord, Function, and Quality, with the Quality column further divided into In Major Keys and In Minor Keys. Tonic (T): Major in major keys, Minor in minor keys Subdominant (P - Pre-Dominant): Major in major keys, Minor in minor keys Dominant (D): Major in both major and minor keys Dominant Seventh (D): Mm7 (major-minor seventh) in both major and minor keys Supertonic Triad (P): Minor in major keys, Diminished in minor keys Supertonic Seventh (P): mm7 (minor-minor seventh) in major keys, ø7 (half-diminished seventh) in minor keys Leading-tone Triad (D): Diminished in both major and minor keys Leading-tone Seventh (D): ø7 (half-diminished seventh) in major keys, o7 (fully diminished seventh) in minor keys Submediant Triad (T): Minor in major keys, Major in minor keys Mediant Triad (T or D - can function as either): Minor in major keys, Augmented or Major in minor keys The table visually organizes chord functions and qualities, helping students understand how different chords behave in major and minor tonal contexts.

In-Class Activities

Discussion

Defining Functional Harmony: Review the concept of functional harmony (or functional tonality) as a class. Come up with a definition for functional harmony and consider the following:
- - What are tonic, dominant, and predominant areas? Which Roman numerals are included in each of the functional areas and why? What characteristics do the chords share in each area? How do they "function" within a harmonic progression? Where would they likely occur within a 4-bar phrase?
  - What is the phrase model?
  - How might functional tonality be used to organize harmonic material across an entire composition?
  - How does functional harmony relate to syntax in language or narrative in storytelling?

Activities

Analysis in Repertoire: Analyze examples from the repertoire provided in the anthology section linked below. Practice identifying chords using chord symbols, Roman numerals, and functional labels (T, PD, D). As you listen to the examples, reflect on the discussion above and consider how the tonic, predominant, and dominant chords affect your perception of the music. Explore how these chord functions contribute to conveying lyrical meaning or expressive effect. In what ways does understanding chord function shape your listening experience?
Composition: Compose 4-bar examples of chord progressions that use functional progressions with different types of harmonic rhythm. Notate your progressions on a staff, spelling and labeling each chord using chord symbols, Roman numerals, and functional labels (T, PD, D). Play through your progressions as a class.

Repertoire for Practice

Functional Progressions: Examples with only T/D (using I and V), T/PD/D (using only I, ii, IV, V), and T/PD/D (adding vi and iii). Progressions follow the basic functional model provided in the References section above.

Anthology: T, PD, D in Pop

Assignment

Assignment 3-1

NEXT STEP

Next Lesson: Pop Harmony & Blues

Want to learn more?

For other intro reading for pop music analysis and pop harmony, check out:

Doll, Christopher. "Some Practical Issues in the Aesthetic Analysis of Popular Music." In The Routledge Companion to Popular Music Analysis: Expanding Approaches, pp. 3– 14. Edited by Ciro Scotto, Kenneth M. Smith, and John Brackett. Routledge, 2018.
Nobile, Drew. "Harmonic Syntax," in Form as Harmony in Rock Music. Oxford University Press, USA, 2020.

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