FUNÇÕES e PROGRESSÕES Harmônicas

Summary

In this tutorial, the speaker explains the fundamentals of harmonic progressions in music, focusing on the three primary harmonic functions: tonic (I), subdominant (IV), and dominant (V). The video dives into how these functions guide chord movements, with practical examples and applications. It also explores relative minor chords, cadences, and common chord progressions like 1-5-6-4. Emphasizing the importance of ear training, the speaker demonstrates how recognizing these functions can improve musicianship and the ability to play music by ear. The lesson encourages further exploration of harmonic theory and its practical use in creating and analyzing music.

Takeaways

• 😀 The video introduces harmonic progressions and their relationship with harmonic functions in music theory, emphasizing the importance of understanding these concepts to study harmony effectively.
• 😀 Harmonic functions are categorized into three main types: tonic, subdominant, and dominant. These functions create a cyclical movement, often in a clockwise or counterclockwise direction, between chords.
• 😀 The tonic function (I) represents a sense of rest and relaxation in the progression, signaling the start or resolution of a phrase.
• 😀 The subdominant function (IV) creates a transition or departure from the tonic, often feeling like a middle point between the tonic and dominant.
• 😀 The dominant function (V) generates tension, acting as a preparatory function that typically resolves back to the tonic.
• 😀 Relative minor chords (vi, ii, iii) are connected to major chords (I, IV, V) by functional relationships, but the minor chords don’t create the same level of tension as the dominant (V).
• 😀 The third degree (iii) of a major scale, although related to the dominant, is often described as an 'anti-relative' chord because it sounds closer to the tonic than the dominant.
• 😀 The video provides examples of common progressions in the key of C major, demonstrating how tonic, subdominant, and dominant functions interact in musical phrases.
• 😀 Progressions like I-IV-V-I (C-F-G-C) and others are explored as part of standard harmonic practices, demonstrating how these functions work in different keys and modes.
• 😀 A key point is the importance of recognizing harmonic functions while studying progressions. It’s not just about playing chords; it’s about understanding their role and how they lead to each other.
• 😀 The video emphasizes ear training by suggesting that listeners can identify harmonic functions in music. The progression's sound remains consistent, even when transposed to different keys, allowing the ear to recognize the functional relationships across various tonalities.

Q & A

What are the three main harmonic functions discussed in the video?

The three main harmonic functions discussed are Tonic (I), Subdominant (IV), and Dominant (V). These functions help to create smooth harmonic progressions in music.

What is the role of the Tonic (I) in a harmonic progression?

The Tonic (I) serves as the resting point or starting point in a progression. It has a stable, relaxed sound, and is often the chord that music resolves to.

How does the Subdominant (IV) function in a progression?

The Subdominant (IV) is a transitional chord that creates movement away from the tonic. It can be thought of as a chord that prepares the progression for a return to the tonic or a shift to the dominant.

What is the role of the Dominant (V) in a harmonic progression?

The Dominant (V) chord generates tension in the progression. It creates a sense of anticipation, leading the listener’s ear back to the Tonic (I), which provides resolution.

What are relative chords, and can you give an example?

Relative chords are minor chords that correspond to a major chord. For example, the relative minor of the Tonic (I) is the vi chord, the relative minor of the Subdominant (IV) is the ii chord, and the relative minor of the Dominant (V) is the iii chord.

What is an anti-relative chord and how does it differ from a relative chord?

An anti-relative chord is a chord that is three steps above a chord's relative counterpart. For instance, the iii chord is an anti-relative to the Dominant (V), and it has a sound closer to the Tonic (I) rather than the Dominant (V).

Why doesn’t the iii chord (relative minor of V) generate significant tension?

The iii chord, despite being related to the Dominant (V), does not generate significant tension because it is a minor chord. Minor chords do not create the same level of tension as major or dominant seventh chords, which are needed to build tension.

What is the cyclical nature of harmonic functions in progressions?

Harmonic functions, such as Tonic, Subdominant, and Dominant, move in cycles. For example, the Tonic (I) can move to the Subdominant (IV), then to the Dominant (V), and then back to the Tonic (I), creating a repeating cycle of harmonic movement.

What does João mean by saying that once your ear hears a Dominant chord, it expects a resolution?

João explains that when your ear hears a Dominant (V) chord, it anticipates a resolution to the Tonic (I). The Dominant chord creates a strong need for resolution, and without returning to the Tonic, the progression feels incomplete.

How can understanding harmonic functions help with transcribing music by ear?

By understanding harmonic functions, a musician can recognize the pattern of chord progressions, such as I-IV-V or vi-IV-I, even in different keys. This allows them to transcribe music more easily by identifying the function of each chord in the progression, even if they don’t know the exact notes.