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YoungCrocket · Post by **YoungCrocket** » Sun Apr 08, 2018 4:27 pm

Hi everyone, I've recently been learning more about chord functions in diatonic harmony. Something that I've found to be very interesting is the fact that there are multiple chords that fulfill the function of Tonic. Specifically, the 1, 3, and 6. From what I've learned, this is because the 3 and 6 share chord tones with the 1, so they also act as a "home base" for the key. (correct me if I'm wrong with any of this information)

I've created a chord progression in natural minor that ends on the iv7 chord in root position. I know it is not common practice but I have omitted the 3rd from this chord rather than the 5th or Root. So now this iv7 omit 3 chord shares 2 out of it's 3 chord tones with the i chord. My question is, could this chord be seen as serving the tonic function rather than the pre dominant function? Also, for context, the chord before the iv7 omit 3 is the v chord in first inversion.

Thanks everyone! I appreciate all the support I get on here.

Gamma-UT · Post by **Gamma-UT** » Sun Apr 08, 2018 4:59 pm

Play a i chord after the progression. I think you'll sense a feeling of distance travelled that you don't get from a bIII or bVI. The subdominant by itself has a strong pull thanks to years of conditioning, though it is a fuzzy line when you consider the role of chords like the sus4. However, the chord you have is a power chord with an extra seventh - I think most will hear it as a subdominant chord despite inversions etc.

YoungCrocket · Post by **YoungCrocket** » Sun Apr 08, 2018 5:36 pm

Thanks Gamma-UT, I kind of figured the same. I was just writing a progression for fun and then analyzed it to better understand what I had done. Only problem is that I start on the i chord. I guess I could start and end on two different voicing's of the i chord... do you know if this is very common? or should I maybe just end on a different chord that fullfills the role of tonic such as the III or VI?

Gamma-UT · Post by **Gamma-UT** » Sun Apr 08, 2018 5:57 pm

YoungCrocket wrote:Thanks Gamma-UT, I kind of figured the same. I was just writing a progression for fun and then analyzed it to better understand what I had done. Only problem is that I start on the i chord. I guess I could start and end on two different voicing's of the i chord... do you know if this is very common? or should I maybe just end on a different chord that fullfills the role of tonic such as the III or VI?

Do what you think it needs by sound rather than by an interpretation of theory. There’s no requirement in modern music to end a progression on a particular chord, though you’ll probably wind up finishing a song based on it with a i chord.

jancivil · Post by **jancivil** » Mon Apr 09, 2018 1:36 pm

YoungCrocket wrote: multiple chords that fulfill the function of Tonic. Specifically, the 1, 3, and 6. From what I've learned, this is because the 3 and 6 share chord tones with the 1, so they also act as a "home base" for the key. (correct me if I'm wrong with any of this information)

Well, this is misleading you as to fundamental tonal thought, so it needs correcting. No, iii/III or vi/VI is not 'acting as home base for the key'. They're false tonics, they are not I or i. When you do, eg., V - vi, that's a Deceptive Resolution to your cadence, even. Think of it this way, it feels closer to home then when you were at a Subdominant spot or a Dominant spot but that's the quality of a waystation, still; you have yet to *arrive*.

So you tried to to justify something which can't be a musical 'fact' out of that factoid. No, IV is never home. Full Stop.

ChamMusic · Post by **ChamMusic** » Sat Apr 21, 2018 8:24 am

"Can a iv7 chord act as a Tonic?"

No!

I don't know what you've been using to help you study chord functions, but I suggest you try a different source of info! :0)

The internet is full of truly awful Music Theory sites, (I've had a few closed down over the years through my job as a Music Teacher). Using the internet to study music? Cross reference at least two different sources for everything!

Some musical phrases develop and lead to a point where you are definitely expecting a cadence that will end on that TONIC / CHORD I / COMPLETED feel, but...

They sometimes deceive you and go somewhere unexpected. The classic example, (as mentioned above) is CHORD V (or V7)going to CHORD VI...

Music Theory here in the UK, this is officially called an INTERRUPTED CADENCE and it sounds incomplete and unfinished as if the music needs to go further on its journey.