The 3 functional blueprints ( how song sections work ) mini bites

Discussion in 'Education' started by MMJ2017, Nov 14, 2021.

  1. MMJ2017

    MMJ2017 Audiosexual

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    In Tonal music language
    ( any music in a Key )

    The deepest level of meaning are the

    Functions.

    There are 3 functions ( groups which all chords fit into )

    Then there are 3 functional blueprints which all progressions or song sections are made from .

    Let's look at the three functions and what they mean .

    Tonic.-
    The hero of the story . Home.
    Relaxed . A passive chord . Stillness.

    Dominant-
    The villian of the story . Farthest away from home.
    Tense . An active chord . Motion .

    Subdominant-
    The journey in the story, away from home .
    Movement . An active chord . Motion .


    ALL chords fit into These 3 ' groups '

    It is a way to categorise chords as the same meaning as each other .
    ( just like in spoken language a bunch of words with sharing the same meaning .)

    How do these 3 functions work ?

    There are only 3 small blueprints
    Called " the 3 functional blueprints "

    Which all progressions and song sections are made from .


    Let's look at the 3 functional blueprints
    ( in functional harmony tonal language)

    1. The heros journey

    [Tonic] / [ Subdominant] / [ Tonic]

    We establish the hero , go on a journey then go back home .
    We create harmonic motion were the harmony gently pulls us back to home creating motion and interest that is gentle.

    2. The Hero defeats the villian

    [ Tonic]/ [ Dominant] /[ Tonic]
    We establish the hero , the villian enters and after a battle the hero is victorious at the end .

    This creates an exclamation point on our hero at the end ( signaling the victory )

    The tension created by the dominant function
    Resolves to the tonic .


    3. A journey before the hero defeats the villian

    [Subdominant]/[Dominant]/[Tonic]

    It is a less abrupt version of the hero defeats the villain because the tension slowly increases
    From Subdominant to dominant, then that dominant pulls us hard to resolve on the tonic.


    If we notice , we have have a section of 3
    In each blueprint.

    We can duplicate the function on each end
    In order to give us 4 ( for 4/4 time signature)

    Example .

    Blueprint 1 .

    Tonic / subdominant/ tonic

    Becomes

    Tonic / subdom/ Tonic / Tonic .

    Or

    Tonic / tonic/ subdominant/ tonic


    Let's look at functional blueprint 2 now .

    Tonic/ Dominant/ tonic

    Becomes

    Tonic/ Dominant/ tonic/ tonic

    Or

    Tonic/ tonic/ Dominant/tonic


    Let's look at functional blueprint 3

    Subdominant/ Dominant/ tonic

    This Becomes

    Subdom/ Dominant/ tonic/ tonic

    Or it becomes

    Subdom / Subdom/ Dominant/ tonic.



    Part II

    We have the 3 functions , and the 3 functional blueprints , we also have their modification.

    Let's now see plugging in the specific chords into the functional blueprints in a specific context.

    The key of C major .

    First functional blueprint

    [Tonic] /[ Subdominant]/[Tonic]
    Cmaj7/Fmaj7/Cmaj7
    Or
    Amin7/Dmin7/Amin7
    Or
    Emin7/Fmaj7/C6
    Or
    Amin6/F#dim7/F#min7b5
    Or
    Bmin7/Abmaj7/[C6/9]

    Let's see with a modification key C major

    [Tonic]/[Tonic]/[Subdom]/[Tonic]
    Cmaj7/Cmaj7/Fmaj7/Cmaj7
    Or
    Emin7/Amin7/Dmin7/Cmaj7
    Or
    Bmin7/Amin7/Dbmaj7/C6


    Lets look at the 2nd harmonic blueprint
    Key of C major

    [Tonic]/[Dominant]/[Tonic]
    Cmaj7/G7/Cmaj7
    Or
    C6/Bdim7/C6
    Or
    Amin6/Abdim7/Cmaj9
    Or
    F#min7b5/Fmin7b5/Emin7
    Or
    G6/Gmin7b5/F#min7b5

    Lets see it with modification
    Key of C major

    [Tonic]/[Dominant]/[Tonic]/[Tonic]
    C6/ G7/ C6/ C6
    Or
    F#min7b5/Gmin7b5/C6/Emin7
    Or
    Bmin7/Bdim7/Aminmaj/F#min7b5
    Or
    D6/Ddim7/C6/Amin6


    Lets see the 3rd functional blueprint
    Key of C major

    [Subdominant]/[Dominant]/[Tonic]
    Dmin7/G7/Cmaj7
    Or
    Fmaj/Gmaj/Cmaj
    Or
    F#dim7/Fdim7/Emin7
    Or
    Fminmaj/Fmin7b5/Aminmaj
    Or
    Dmin7b5/Ddim7/G6

    Lets see a modification in key of
    C major

    [Subdom]/[Subdom]/[Dom]/[Tonic]
    F#dim7/F6/Fdim7/C6
    Or
    Dmin7/Abmaj7/Abdim7/G6
    Or
    Fmaj7/Dmin7/G7/Cmaj
    Or
    Fminmaj/Dbmaj7/Db6/C6
    Or
    Bb7/Fmin6/Fdim7/Emin7
     
    Last edited: Nov 14, 2021
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  3. MMJ2017

    MMJ2017 Audiosexual

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    Let's look at a master chart of

    All the specific chords in each function for a key .

    Major
    Key I ii iii IV V vi vii I

    Tonic function chords in key

    Imaj7 ( I6)
    vimin7( I6)
    iiimin7( V6)
    II6
    II7
    #iv min7b5
    Vmaj7 ( V6 )
    viimin7 ( II6)
    viminmaj
    vimin7
    vimin6
    I minmaj
    Imin7
    imin6
    Idim7


    Subdominant function chords
    iimin7 ( IV6)
    IVmaj7 (IV6)

    ivminmaj
    ivmin7
    ivmin6
    bIImaj7 (bII6)
    bVImaj7
    iimin7b5
    bIImaj7
    #IVdim7 (VII7,II7,IV7,bVI7)
    IV7
    bVI7
    VII7
    II7

    Dominant function chords

    viimin7b5
    V7

    viidim7,( iidim7,ivdim7,bvidim7)
    bVII7
    bII7
    III7
    bVIminMaj
    ivmin7b5
    Vmin7b5
    bII6
    bIII7
    bViimin7
     
    Last edited: Nov 14, 2021
  4. MMJ2017

    MMJ2017 Audiosexual

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    The way our 3 functions work is like a gradient.

    Tonic is very still with the diatonic chords , as you move to the non diatonic chords is gains a little bit of motion.

    The Subdominant chords diatonic chords start their tension level right where the tension of the tonic's non diatonic chords left off.
    ( a smooth gradient)
    Then the non diatonic Subdominant chords gain more tension right until the Dominant function diatonic chords
    Pick up with more tension .
    Then the non diatonic Dominant function chords smoothly gain the most tension .


    Still to tense gradient.
    Tonic ..diatonic..non diatonic..Subdominant..diatonic.
    Non diatonic...dominant..diatonic..non diatonic..
     
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