Functional Harmony - Music Theory Lesson

[@LydiaPike-c5v]

Finally someone who explains this stuff in way i can understand

[@DanJostMusic]

I've never heard of a 6 chord referred to as a subdominant, it is usually in the tonic family because the 6 chord contains the 3rd note of the scale.

[@Arycke]

Same.

[@siddhantsil]

Same!

[@whatabouttheearth]

Those are families but 6th is the submediant, 4th is the subdominant I: Tonic ii: Supertonic iii: Mediant IV: Subdominant V: Dominant vi: Submediant vii°: Leading Tone Update: Oh, I see what you're saying now

[@Arycke]

@whatabouttheearth yeah, I iii and vi are tonic chords, ii IV subdominant, V and vii⁰ are dominant (the vii⁰ is a rootless V7). I don't like the term mediant and submediant, supertonic,subtonic,etc. 7 is too many terms, when you can boil it down to 3: tonic subdominant, dominant

[@Frank-yx1pz]

Finally someone who has explained it clearly and simply. Thank you very much.

[@IanODonnell]

Glad it was helpful!

[@deeplyaffected3520]

@@IanODonnell thanks bro. For what em in Am scale is MAJOR?

[@banino9295]

frfr this vid is a godsend

[@venusspacey9685]

If you practiced long enough you would've discovered this yourself.

[@LavaBai]

Totally agree!

[@brodypiano]

Really well explained!

[@joseluisfernandezsepulveda5428]

Muchas gracias maestro. Muy sencilla y útil explicación.

[@miguelpublicidad]

Which BEAUTIFULL MASTER CLASS🥇🎷 GOD BLESSS YOU SR

[@kukumuniu5658]

The real question is: who,when and what for invent harmonic Major / ionian b6 if noone use it?No songs,no videos,nothing. Functional harmony of harmonic Major,progressions,how to use it etc we have dimminished chord on ii and vii * "vii" is rootless dominant in natural Major "ii" is sub dominant ii but in harmonic Major it is dimminished chord so,we have two rootless dominants? one diatonic and one nondiatonic?? :( * and "iv", if we play (in C ionian b6) f,a-flat b three rootless dominants? one diatonic and two nondiatonic? Could you make video about this?

[@dj_instruments937]

Just subbed. Feel more able to make another track applying what I just learned. Expect my tracks should sound a little more cohesive having a little rhyme to my reason now. Thank you. Looking forward to seeing what more content your channel has to offer.

[@gilregev4823]

in major scale the vi degree is a lot of time considered Tonic

[@jeffreyho2692]

Super helpful. Thanks a million!

[@thientruong6712]

thank for simple explan it maybe save my day

[@IanODonnell]

Happy to help

[@peterhughes3461]

Isn't vi more tonic?

[@381delirius]

when you look up a random nonsense chord progression and this comes up

[@philliprobertson1347]

Could somebody explain to me why 6:22 the 5 chord is major?

[@Juan_Teppa]

Hey Ian! What role have secondary dominants in functional harmony? Great lesson, thanks!

[@Fb-pg3sh]

Secondary dominants are used to create stronger resolution to the next chord.. Ex: origanal progression.. C Am Dm G With secondary domainats : C E7 Am D7 G E7 is the V7 of Am so it pulls u too that chord more.. And we replaced Dm with a D7 the V7 of G to pull harder to G.. Both secondary domaniants contain the major 7th interval in relation to the next chord so the leading tone pulls u to it stronger.. U can also use vii°7s in the same way just a half step down from the new chord instead of a fifth above.. Ex: C Dm G C Ex using vii°7: C D#°7 D7 G B° C.. Here we used secondary doms.. To make chromatic movement away from the tonic chord with the vii°7/ii (fully diminished 7 of the 2 chord D#).. And also replaced the Dm with the V/V (5 of 5 D7) and added the B° at the end to make it sound a lil more convoluted lmao U can also use chords from parallel minor keys or any parallel modes with the same sort of affect.

[@elikovacevich7999]

logic drums in the background. is that soooocall kyle bruh?

[@AbelTan-o3b]

How is iii a ton8c chord?

[@joeminton1781]

The vi is Tonic function

[@gregtees9995]

Chord 7 is half diminished, not diminished.

[@stuartwilson4754]

Surely chord vi is ambiguous. It can function as a tonic chord since in contains the two most stable tones. (Hence the deceptive cadence). I would say that vi has stronger tonic function than chord iii....you seldom hear V - iii as any form of cadence. But, in some contexts vi can function as a pre dominant since it also shares 2 tones with chord IV.

[@andrewcalebgorospe2754]

true. which is why even in contexts where the song is in the minor key (where the tonic is [i]) in the back of my head I still treat it as a vi and the IV looks & feels to me as II and the entire song has [III] as my tonic[I] and the root scale is lydian.

[@Nick_Reinhardt]

@@andrewcalebgorospe2754 If iii is your tonic, then your scale would by phrygian...

[@andrewcalebgorospe2754]

@@Nick_Reinhardt sorry I meant, "...and the entire song has [III], just as my tonic[I] and the root scale is lydian." ✌☺

[@tbhv]

The iii chord can be thought as both part of the tonic and dominant chord groups because it also contains two notes from the tonic (I) chord. When played with consideration to the V chord, the iii is called the minor relative Dominant (Dp). When played (less commonly mind you) with consideration to the I chord, the iii is called the minor counter-relative of the Tonic (Tg). Another way to make sense of this is looking at the Mediant (iii) and Sub Mediant (vi). The sub mediant is called sub mediant and not super mediant because it is equally spaced going backwards from the tonic- i.e. I, vii, vi versus I ii iii. I basically agree that the vi feels more like the tonic than the iii- but in a sense every time we play Imaj7 we also play a iii so it is kind of hard not want to relate it to the I in some sense.

[@sophiafakevirus-ro8cc]

I thought the vi chord was in the tonic family.

[@John-fc8ti]

Isn’t the 6th a tonic chord?

[@kyrachen9108]

Lmao ya It’s like the tonic The submediant can be a predominant chord or a tonic substitute

[@aqua3418]

I was just going to say this. 6th is supposed to be tonic

[@StratsRUs]

Relative minor, tonic if minor key.

[@HikariKrome]

The vi's default function is *TONIC,* not subdominant.

[@SaadAhmed3000]

Depends on context I believe. In a deceptive cadence you can use it as a tonic. In a plagal cadence you can use it as a sub dominant. important to remember that these are all just frameworks, not rules of law, context can change the meaning of chords - depends on the story you're telling

[@rustykrieger7181]

I’ve never heard the seven described as a dominant degree before. I’ve only heard it called the leading tone. Also, what happened to the mediant and sub-mediant?

[@whatabouttheearth]

Those are families. The 6th is the submediant, 4th is the subdominant. In families they are grouped into the three groupings of similarity because they share notes, so the V is the most dominant and so called the dominant, but others are in the dominant family. I: Tonic ii: Supertonic iii: Mediant IV: Subdominant V: Dominant vi: Submediant vii°: Leading Tone

[@Matthew_Robert_Hunt]

I-Tonic, ii-supertonic, iii-mediant, IV-subdominant, V-dominant, vi-submediant, vii-leading tone.

[@lucamcardle729]

Those are the notes, not the chords

[@Limbiclesion]

Correct 🙏🙏🏿👍

[@dsanj4745]

The correct Roman numeral for a submediant is vi, NOT iv.

[@Matthew_Robert_Hunt]

@@dsanj4745 thanks for pointing out the mistake, I took care of it.

[@FaranAiki]

​@@dsanj4745 Yes, "iv" is the fourth minor chord. Good for a _cliche_ plagal cadence, IV - iv - I.

[@leighmcwest9770]

vi is not a sub dom chord! Its a tonic

[@EclecticSceptic]

Yep. (Using C major) it contains the tonic note C and the major third E. Hence why the deceptive cadence works so well.

[@christopherestrada2474]

@@EclecticSceptic Okay so the 6th is an Am. Would you be kind enough to explain how the Am contains a C and an E?

[@christopherestrada2474]

@@EclecticSceptic and since both C and E are relative to the tonic C in Cmajor, making Am a tonic, then why does he claim the Am as a Subdominant? does it simply mean that the 6th is both TOnic and Subdominant?

[@christopherestrada2474]

@@EclecticSceptic Thanks in advance!

[@EclecticSceptic]

@@christopherestrada2474 Am = A-C-E, a minor triad in general has 1-b3-5. I mentioned this above just to point out that Am (vi chord) shares two notes with C (I chord). Similarly, the iii chord Em = E-G-B shares two notes with C = C-E-G. This is not the beginning and end of chord function, of course, but it's worth noting. The other chords share either 1 or 0 notes with the tonic C major. Functional harmony in general is just an opinion. It is one way of interpreting music. It is not objectively true or false. So ultimately, we cannot say 'well vi IS a tonic chord'. However, we can say what is the most common application of the functional harmony framework, or give our personal slant on it. From what I have seen, with the proviso that all my theory is self-taught, it is more common to consider vi a tonic type chord. However, it is also my perception that this is sometimes disputed (also for the iii). What I remember is that iii and vi have tonic function, but perhaps sub-dominant function also/instead.

[@PTiago07]

That's wrong. I - Tonic ii - subdominant parallel III - dominant parallel IV - sub dominant V - dominant vi - tonic parallel vii° - incomplete dominant seventh

[@yousifosman415]

Just to be clear. I think when u tried it eoth the minor key i think u used C harmonic minor instead of C (natural)minor. Since the 5 was major

[@Mandosami]

correct. Thanks for the content Ian but to have a B natural not in the minor progression when the Bb is illustrated (natural minor key) could end up confusing some that aren't aware of why a Major V chord has been inserted

[@schitlipz]

An "I don't know" is just as constructive.

[@Arycke]

I would take this video with a grain of salt, as it is not very common, in the western euro music theory practice, to call vi subdominant.

[@musiccreation1198]

the vi chord is not in the subdominant family, it's in the tonic family....at least in the vast majority of contexts.

[@itsguidry8125]

the vi is NOT subdominant, i'm sorry for anyone who tried to learn functional harmony from this, the vi has tonic function

[@HaniJIsmail]

Thank you so much. I've owned a guitar for the last 13 years and learned how to play good enough to where my friends who aren't guitar players think i'm decent. Though i'm not and my playing hasn't really gotten anywhere. Well, I finally decided to try to understand theory and even though this is a small part of it, the way you explained everything was so clear and concise! I'm here experimenting with different chord progressions already since I know the chord shapes and i'm actually having fun with my guitar again....thank you!

[@IanODonnell]

That's awesome!! Glad you're getting back to playing. Even a little bit of theory can really help!

[@HaniJIsmail]

@@sophiafakevirus-ro8cc thanks for replying to my year old comment. I've been playing sporadically since then. Bouncing back from work and other hobbies not having much motivation to play but I've focused on learning the 12 bar blues structure and practicing soloing using the pentatonics and experimenting with different rhythms using the chords. I been wanting to learn the major scale next but I feel like I'd rather become fairly proficient in the pentatonic/blues scale

[@davidferrini3609]

hey man, correct me if I am wrong.. minute 6:06, the 5th chord on Minor Chord Progressions shouldn't it be a Minor Chord? it shoudl be: i - iio - bIII - iv - v - bVI - bVII - i

[@ClassAstudio-Duditamir]

Just need to fix an important mistake: vi = T and not as written vi = S.D why? 1 Am chord does not include the note F 2 On the other hand, chord Am includes the sounds - E, C

[@NishanthSalahudeen]

Hi, here you discussed seven chords. But in other lessons elsewhere i also came across 12 chords (major, minor, diminished, aug, maj7, etc). How is that 12 related to this 7? Whats the usecase for those? These 7 are a subset of those 12. So where to use the remaining 5 🤔

[@dharmeshmistry342]

It’s 12:30 at night and I feel enlightened. I wish more tutorials were as concise, informative, demonstrative, and frank as this. You’re just awesome man, thank you.

[@j.o.1715]

I know that feeling, its the middle of the night but you get so energized because you finaly learned something haha

[@davidtorazzi7650]

This video was of great help, even thou I wasn't even looking for chord progression; I was trying to find out why a song I was trying to play had a note that was outside of the scale, then I stumbled upon dominant chords (which I didn't know were a thing) and now I can go back to the video that might have the answer to why I have to play a F# on the A# scale (A#; C; D; D#; F; G; A; A#)

[@Pheonix8877]

@@davidtorazzi7650 there are many reasons why that could be. I highly suggest looking up “secondary dominants” and “borrowed chords”. These are methods of using chords from outside the scale and that means using notes that are from outside as well. Sometimes it’s not even that complex, they are just simply breaking the rules whether it be as a passing note (between chords) or an extension of a diatonic chord.

[@tpsproductions7127]

It’s 2:45am for me and I’m just starting watching this well needed video!

[@2BsWraith]

Music Student here, This is by far the most helpful lesson I've gotten on Functional Harmony, and my Professor is really talented. But after hearing this everything clicked and it became so simple.

[@IanODonnell]

I’m glad it was helpful!!

[@schitlipz]

All the musical terms are driving me bonkers. Especially if they overlap from different "schools" or whatever. And the "rules" are kinda unruly. If society worked like like music theory, there would be anarchy. Hey, you got any clues/hints/ideas as to how key modulation within a piece of music works (any "rules" behind it, besides the "relative major or minor")? There are a number of popular ones a cannot recall at this moment. (Pop songs are best I think, to demonstrate weird theoretical stuff. Simply by the merit of them being popular in the first place -- obviously our ears like it.) Or another question that's been burning a hole in my brain cells: Why is there an F# diminished 5th (I call it the "freak chord") in some A minor tunes, as in the case of While my Guitar Gently Weeps, or Babe I'm Gonna Leave You, also Dust in the Wind?

[@itdepends5906]

Really helpful video but honestly calls for one feedback: 1) drop the Roman numerals when demonstrating the chord progression /after showing them once. They are cluttering the slide (also you could have at least put some space between the lines where you’re writing out all the; most of the slide was black above and below)

[@mazayarahman1315]

I ACTUALLY UNDERSTAND :)

[@IanODonnell]

That's awesome!!! So glad I could help! Thanks for checking out the video.

[@kierenmoore3236]

iii is not tonic. vi is not subdominant. And V - I is called an Authentic Cadence Also, ‘little’ diminished symbol … ☺️

[@trombonemunroe]

Not a bad explanation but glosses over the fact that you have to use the harmonic minor scale for the minor to resolve properly from the V to the I. Also, the VI degree can function either as tonic or subdominant depending on context.

[@jrparsons8313]

I've watched many theory with Roman numbers and tonic sub dominants etc.,but this is simply the best. Now can actually start writing my own progressions with confidence ! Thank you very much! J.R.

[@xshayahyawzi3666]

the fifth chord should be minor here not major, unless borrowing from harmonic minor

[@michaelosgoodjr947]

It's actually the harmonic minor scale. Where the G is dominant

[@OneStepToday]

What does b represent in the label for the major chords in a minor dianotic chords chart? It's so confusing? You're supposed to write them in small letters Eb as iii not III, but you have shown them bIII, bVI, bVII when actually they are minor so they are supposed to be written in small letters.

[@lawrencetaylor4101]

Until I bought a piano after my retirement I laughed and said I had two left ears when it comes to music. In college I liked a band "Doug and the Slugs" and played it for a friend that sang in a choir. And she said they went to the wrong chord. But I liked the song.

[@davidtechmusic3543]

You used the Cm as Number 1 , Do you have the larger table showing the 7 chords when the chord home is a Minor?

[@rattttooooo]

i really appreciate the little details in the editing, namely the music in the background always being on and changing depending on the topic. It helps me concentrate and puts me in the mood of the chords that you are actively talking about.

[@musicplaylists64]

Sub is Latin for below. So when you think of it in that context it is not weird to use the Plagal Cadence. As it is a 5th away from the Tonic descending.

[@rogerramjet6615]

Please learn your terminology you are misleading students. iii is not the tonic it is the mediant. ii, vi are not subdominant they, along with IV are predominant.

[@tombockfrosch1849]

Hi man, thanks for the useful explanation in simple language. I think I found a mistake though. The 5th in c minor will be g minor not major. All the best. Tom

[@SoonComeSound]

Am I the only one wondering why the fifth degree is not labeled as minor for the minor keys?

[@rillloudmother]

this is not a bad explanation if you are new to functional harmony, but you do not have to start with the I chord or end with the 1 chord.

[@myousher]

How it works for Dorian? Where’s leading tone for Dorian?

[@anzatzi]

the I V vi IV progression--the most popular pop progression-does not follow these rules?

[@maydonkyovoy968]

Dude you're sooo underrated!!! I really Hope your channel grows fast!!

[@LukassYT]

I've been struggling with understanding chord borrowing and modes, but the final table made something click in my mind even if this wasn;t necessarily related. thank you so so much.

[@slohart]

Isn’t the V in a minor key minor? As in A minor the five is e minor?

[@sebastianskywalker8321]

VI functions more as another tonic special when u double the 3rd (which is the 1 in the scale). It can also be the tonic in the relative minor key if u properly modulate to it. PS: Just trying to help here, not trying to correct nobody

[@sebastianskywalker8321]

Also the III doesn't even have the 1 in the scale, so how can it be a tonic. The III is a mediant, closer to a dominant, specially in the minor key if u make it a augmented chord. Augmenting the 5 ofc, so III#, which gives the leading note. I-VI-III-IV-V-I or V-III-IV-II-V-I are nice examples. It really depends on what's happening on the music which, even a I6/4 can be a subdominant, even tho it's usually a dominant, even tho it has all the notes of the tonic, but repeating the 5th makes a big difference u see.

[@joshfarm]

Thanks for this. Very helpful. One thing that left me confused was that at 6:11 when showing the Cm scale the G chord is written as a major chord, but shouldn't it be G minor? Want to make sure I'm not missing something!

[@yekri2398]

vi is a tonic chord not a SD chord ! It is the relative of I. Go back to school.

[@LohPro]

FWIW, I have the degrees grouped as such: TONIC (I), (vi), (iii) / SUBD (IV), (ii), (vi) / DOM (V), (vii), (iii) I-tonic vi-relative key iii-shares 2 tones with the tonic IV-subdominant ii-contains the 4th degree, root is the V/V vi-shares 2 tones with the subdominant V-dominant vii-contains the leading-tone that pulls to tonic root iii-shares 2 tones with the dominant

[@Acujeremy]

Wait how is 3 a Tonic?

[@jannmikoingelrabagogamingc6012]

I believe, the deceptive cadence is also found in the popular chord progression used in most J-Pop music.

[@raakareiska9804]

Aren't these J-pop and K-pop bands just doing what western pop is doing? I only see them as copies of western pop culture fitted into their markets

[@suswamashimom6102]

You nail it man!!! If it sounds good to the ear, play it. That's Music!

[@hy455]

This is THE most helpful video I've watched for writing chord progressions, and I've watched dozens of them. Understanding the function of each chord and the philosophy of building a flow in a chord progression really clicks. And you presented it in such a concise and nice way, thank you!

[@austlander]

A friend of mine just brought up the idea of doing some writing, so I found this video. Holy crap. Do you understand the amount literature this simple language you explained just unlocked for me? I've been looking at I ii iii ..... for decades and never bothered to learn what it meant. Not to mention being able to really understand specifically why I like progression X over Y or really getting a feel for what's going on under the hood in Beethoven's fake endings.....just mind blown.

[@IanODonnell]

Hahaha, I’m so happy it was helpful! Good luck with writing, it can be a lot of fun!

[@cskhard]

Why do you say the vi is a SD? The function of a chord is determined by the quality of the notes in the chord. In the vi we have two stable notes which are shared with the I(it's iii and V relative to the vi)so it's very stable, and one instable note(the I). However the iii has two stable notes shares with the Tonic BUT a strong instable note, so the iii is more instable than the vi, that's why vi is acting more like a Tonic than the iii, so saying the vi is SD has 0 sense. I think you got the theory wrong.

[@dsanj4745]

The vi is indeed a tonic and NOT a predominant (the correct term when referring to tonal function). This is why both the iii chord and the vi chord can be used as a substitute for the I chord. In fact, the vi chord is a STRONGER substitute for the I chord than the iii because the vi contains the root and third of the I chord. So the Deceptive Cadence (V to vi) is, in function, a movement from dominant to tonic.

[@lucianogoyenechea8704]

looking for this comment... vi is a fkn tonic

[@AntiquatedApe]

The quality of the chord depends on the context. For example in the key of G, a C major chord is the IV but it can function as the ii. C major 7 is just Amin9 with a C in the bass and omitting the A. A CMaj6 minus the B note chord is exactly the same as an Amin7 chord. They share all of the same notes. Their function in the harmony is the same,but their qualities in context change.

[@AntiquatedApe]

@@dsanj4745 "stronger" depends on context. Depending on the mood you want perhaps using the iii is better than using the vi. In key of C the iii is Emin7 which is EGBD. That's just a CMaj9 without the C. The vi is Amin7 which is ACEG or Cmaj6 without the C. Context is the most important aspect to the function and quality of a chord.

[@PlayitonPan]

Dumb humans trying to apply theory, logic and rules to music. A C E may be labelled “A minor” but not necessarily. It all depends on context. If written or spoken language were effective in communicating music, then music wouldn’t be necessary. There comes a point in music theory when the labels we give tones, chords and “colours” no longer serve a useful purpose. However, in the beginning, theory is helpful and insightful. Yet in the end, it’s really not.

[@pro-lapser]

Hope you did a complete music theory course from the very basics, you are soooo good at teaching

[@IkonBusiness]

In minor key Vth is major or minor?

[@mvanderg]

Sorry this is exactly the thought we have to get rid of. A “V should resolve to a I “ and next follow all the exceptions which actually show that the ‘rule’ is nonsense. ‘A IV should go to a V’ !please people do NOT lock yourself in this truth that has been torn down so many years. Btw the iii is also a Dominant function and the vi also a Tonic function, so the functional story isn’t even told right. The disclaimer in the end ( fearlessly do what your hear), that’s the thing to start from. The real important lesson from the functional harmony is: there is a movement between Home and Not Home. Any other ‘rule’ is getting the in the way. Please let’s cancel this narrowing functional harmony textbook crap. Just remember: ANY chord can go to ANY chord if your ear tells you to and in the end you feel at rest when you are Home. Where all the water eventually flows to.

[@sanjugholley]

Such a great voice and explanation....It felt like someone is sitting near amd explaning things....Very helpfull and really liked tje last part of the vd that feel free to play what u sounds great to you

[@rubendez]

In real life, tonics are I, VI, and III.

[@weederian123]

this needs be shared to every musicians. very clear and useful information and i appreciate the comment at end that says these rules are only guidelines because this is the progressive music philosophy.

[@MemphisFitz]

Great video showing whats useful. I dont get why so many people just explain how they named "Supertonic" when that literally explains nothing useful. Its a subdominant and has a subdominant function, thats what is important to know because that tells us it sounds tense and can be used for contrast between a tonic and a dominant.

[@IIeTpOc9H4uK]

That was killer useful! I'd like to hear more about minor scales in future, this video was about major mainly.

[@lavoxii]

Very very very well explained, clear, efficient, simple, easy to understand. Thank you! Please making more videos and like your style: straight to the point, no time to waste in long winded talk.

[@miguelbass]

I never saw the iii chord as "tonic" - on the other hand , vi is tonic and not sub-dominant

[@andrewcalebgorospe2754]

true. I adhere to this. I believe they're called "relative minor" (vi is the relative minor of I--and is thus tonic; iii is the relative minor of the V--ergo dominant; ii is the relative minor of IV--which makes it feel subdominant). To my ears at least the relative minor chords are like milder flavors of their respective major diatonic counterparts.

[@leif1075]

@@andrewcalebgorospe2754 What does that mean exactly? Since it's the relative minority of a dominant it itself becomes major sounding aka tonic?

[@Fb-pg3sh]

@@leif1075 a tonic chord is any chord that dose not contain the 4th scale degree... A sub dominant chord is any chord that contains the only the 4 scale degree.. A dominant chord is a chord that contains the 5th scale degree and also the 7th scale degree... These r all 7th chords Ur 1 chord has 1 3 5 7.. 6 chord 6 1 3 5. And the 3 chord has the 3 5 7 2.. No 4 scale degree so they r all tonic.. 2 chord has 2 4 6 1.. 4 chord 4 6 1 3.. Only have the 4th and not the 5th or 7th degree so they are pre domainat..the 4th scale degree wants to lead u to the 5th of the domaniant chord 5 chord has 5 7 2 4..7 chord 7 2 4 6.. They have the 5th and 7scale degree.. And also the 4th when in adding 7ths..so the both r domaint.. The leading tone (7) pulls u back to the 1 chord

[@arn3107]

megalovania doesn't follow this i'm pretty sure most of Toby's stuff doesn't follow the conventional music theory stuff it's kinda hard being an undertale fan musician you have no idea what to do edit: looks like i was wrong megalovania kinda does follow this

[@Multi-Waves_Music]

I'm seeing these notations next to the numerals: b and o Are these signifying that the chord is augmented and diminished? I'm leaning that + = augmented and ° = diminished The b, does that mean b flat? Why would VII be flat? I apologize for my confusion, scale degrees are killing me haha

[@TriPham-yo7we]

In orchestra group of types of instruments like wind , brass , string , and wood wind

[@tbhv]

Hey thanks for the video - I am doing some research to make my own video on functional harmony and found this helpful. Seeing you describe the iii chord as a tonic chord def took me by surprise since I usually associate iii with it's relative major (and so interpret it as part of the dominant chord family). This led me to the wiki page to evaluate why that is- and found that seeing as the iii chord includes components of both the I and V chords it can belong to either the tonic or dominant family- I gather that this corresponds with the German theory which includes both the relative and counter relative chords to the TD and S to be part of those chord families. In any case, I'll be lucky if I make a video as succinct as this one- I'll be sure to mention you. Also It is a small thing but when explaining functional harmony according to the minor key you wrote V instead of v even though the five chord in the minor key is in fact minor- by the sounds of it you also played the it as a major/ even secondary dominant at that! I'd guess the V/vi in Eb (G7)

[@willoolliw]

Thanks for all the information! I noticed one thing, is the G in the key of Cm supposed to be major? I thought it’d be a minor.

[@benjaminrickfelt7888]

i played radio nowhere by bruce springsteen by accident. In the key of Dmajor. iii=f#. IV=D V=A and E. Anyone care to check if thats right?

[@clif9379]

good explanation but the jingly dangly music during the explanaition was so distracting

[@vatri89]

Nice tutorial, thanks for this. Just one thing: shouldn't 5th chord in minor chords be major one?

[@michaelmaitland3126]

I’ve heard that viio is not part of the dominant group in major harmony. Could you explain this vs what’s you said in the video?

[@قیسمحسن-ل3س]

The fifth cord is ( Gm ) but not ( G ). I mean in C minor scale.

[@celestetam]

I agree!

[@MennaBusiness-w9t]

Ok! I can't thank you enough! That's even a key for any songwriting 😍😍

[@hitesh_blues2353]

So well explained!! Thank you Ian :) QUESTION; T-SD-T-SD-D-SD-D-T holds for chords derived from Harmonic Minor & Melodic Minor scales as well?! REQUEST; Do explain NEGATIVE HARMONY using a similar lesson such as this one.

[@utah217]

u start of k/c. think iam right. 7 cord b-7b5. u put down as dom. in milodic minor. i belive. the cmag min being i cord .the b-7b5 being 8 cord .but this is also a b dom7 cord. how has this decome domi .hope u understand .i can just about understand think i melted brain

[@Martinroque77]

Bro, vi is tonic.

[@JediCrackSmoke]

It's not that it souds "right", it's that it sounds Diatonic which is what Functional Harmony is, it's Diatonic Harmony.

[@neznox]

I need help with something - at 6:05 when talking about minor scales, what do those b's mean? (bIII, bVI, bVII)

[@johnnyhoulihan]

Chord iii is not a tonic. vi is not subdominant.

[@aqua3418]

Chord iii IS tonic. But yes, VI is not subdominant, it also belongs to tonic as well (please search "harmonic functions music" on google, first image result will show the chart showing iii belongs to tonic)

[@qpianist5918]

Good video but vi belongs to Tonic Chords and not Subdominant Chords

[@edisz]

vi is tonic

[@rutheproppi6265]

Hello: I have a question can you have I IV vi V I - can ii the SD go to a iii Tonic - can you have I vi - IV - V - I - can you have I vi ii V I. Can you tell me what chords cannot go to other chords. Thank you, R

[@MennaBusiness-w9t]

And also thank you for encouraging us to know the rules so we can use them but we can break them!

[@flamesintheattic]

Cool info.. the problme is there are virtually no hit songs that follow these rules.