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The concept of harmonic function originates in theories about just intonation.It was realized that three perfect major triads, distant from each other by a perfect fifth, produced the seven degrees of the major scale in one of the possible forms of just intonation: for instance, the triads F–A–C, C–E–G and G–B–D (subdominant, tonic, and dominant respectively) produce the seven ...
Put another way, it is the key whose tonic is the dominant scale degree in the main key. [8] If, for example, a piece is written in the key of C major, then the tonic key is C major and the dominant key is G major since G is the dominant note in C major. [9] "Essentially, there are two harmonic directions: toward I and toward V.
[3] For example, the first movement of Mozart's Piano Sonata No. 7, K. 309, modulates only to closely related keys (the dominant, supertonic, and submediant). [4] Given a major key tonic (I), the related keys are: ii (supertonic, [5] the relative minor of the subdominant) iii (mediant, [5] the relative minor of the dominant)
The scale degree chords of D major are: Tonic – D major; Supertonic – E minor; Mediant – F-sharp minor; Subdominant – G major; Dominant – A major; Submediant – B minor; Leading-tone – C-sharp diminished
Lower dominant, happens to have the same interval below tonic as dominant is above tonic F F 5 5 Dominant: Mixolydian: Phrygian Second in importance to the tonic G G 7 6 Submediant: Aeolian: Lydian Lower mediant, midway between tonic and subdominant, (in major key) tonic of relative minor key A A♭ 8-9 7 Subtonic (minor seventh) Mixolydian One ...
A cadential subdominant chord followed by a tonic chord produces the so-called plagal cadence. As with other chords which often precede the dominant, subdominant chords typically have predominant function. In Riemannian theory, it is considered to balance the dominant around the tonic (being as far below the tonic as the dominant is above).
Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor.
The 5 limit diatonic major scale is tuned in such a way that major triads on the tonic, subdominant, and dominant are tuned in the proportion 4:5:6, and minor triads on the mediant and submediant are tuned in the proportion 10:12:15.