#1
Hi there!
I were just reading this book about Tonic, subdominant and dominant.
So its about thost diatonic sevenths, where we can split them into three groups of their function:

Tonic :
Cmaj7
Emin7
Amin7

Subdominant
Dmin7
Fmaj7

Dominant
G7
Bmin7b5


And this is the thing bothering me:
The chords are, if you write them down in a sheet music paper: making sense, everyone besides Amin7 that are in the Tonic group because the tonics and dominants are hitting the lines in te sheet paper, and the subdominants are in between them, and the four notes of the Amin7 IS between and NOT ON them.

So, is it only that i missunderstood the groups and that Amin7 is a subdominant, or is it something else thats the rules for those groups?

One day you`re gonna wake up and you`ll be 30 years old and you won`t have done a damn thing with your life.
#2
I'm not sure if i really understand what your saying, but that book is wrong:

You have:

Tonic: Cmaj7
Supertonic: Dmin7
Mediant: E min7
Subdominant: Fmaj7
Dominant: G7
Submediant: Amin7
Leading tone: Bmin7b5


You can't look at those three chords as tonics or that leading tone as a dominant...

They are different functions, so should be called differently
Last edited by oxokoning at Nov 4, 2009,
#3
Yeah, i know those.
but its about those groups that they identify the sound of the key or something.
And the tonic chords are more like some harmonic resting places or to indicate resolution in a progression or something like that. The subdominant ones are like less-stable sounding because or thei structures, and they contribute to some kind of forward motionin a progression and they mostly precede dominant chords. The dominant chords are the least sounding stable ones because of those tritones, its something about the diminished 5th interval between 3rd and 7th, and this to has a stronger foreward motion in a chord progression.

One day you`re gonna wake up and you`ll be 30 years old and you won`t have done a damn thing with your life.
#4
They're classifying based on function. Cmaj7 would be the tonic, and Am7 and Em7 both differ from Cmaj7 by only one note, and thus can act as substitutes. G7 is the dominant, and Bbm7𘉹5 can be a substitute for it (Em7, although having only one note different from G7 cannot, as the dominant function is created by the tension between the B and the F, and the F does not appear in Em7). Dm7 being a fifth above G works well to lead to the dominant. Fmaj7 works too as it differs from Dm7 by only one note.

It has nothing to do with whether the notes are on lines or spaces. All notes can be on lines or spaces depending on which octave that note is in.
Last edited by isaac_bandits at Nov 4, 2009,
#5
ok, thanks alot!
Its like, i was afraid that no one would understand my, but anyway, thanks ^__^

Does the chords use the same substitues in the triads as well?

One day you`re gonna wake up and you`ll be 30 years old and you won`t have done a damn thing with your life.
#6
Quote by keven93
ok, thanks alot!
Its like, i was afraid that no one would understand my, but anyway, thanks ^__^

Does the chords use the same substitues in the triads as well?


Yes.