Scale degrees express the steps of a scale with numbers and names, helping us understand the role of each note within the tonal structure:
| C | D | E | F | G | A | B |
|---|---|---|---|---|---|---|
| I | II | III | IV | V | VI | VII |
This way, we not only recognize which note is being played but also understand its meaning in terms of harmony, melody, and the relationships of tension and resolution.
When playing the guitar, our focus often falls on finger positions or chord shapes. Yet to truly understand the depth of music, it is not enough to train only the fingers; the ear must also be developed. Recognizing each note not just as “which fret” but as its function within the scale allows us to build melodies more consciously and move through improvisations without losing direction.
Functional Harmony
Functional harmony is the system that explains how other chords or notes take on specific roles around a tonal center (the tonic). In this way, each chord creates in the listener a sense of expectation, direction, or resolution, giving the music motion and meaning.
These roles are generally divided into four main categories:
- Tonic (the resting point)
- Dominant (creates tension)
- Subdominant (leads toward motion)
- Leading Tone (wants resolution)
For example, let’s take the C major scale:
C – D – E – F – G – A – B
Each note in this scale also carries a function:
| Note | Degree | Functional Role |
|---|---|---|
| C | I | Tonic (main center) |
| D | II | Supertonic (preparatory) |
| E | III | Mediant (passing tone) |
| F | IV | Subdominant (leads motion) |
| G | V | Dominant (creates tension) |
| A | VI | Submediant (side center) |
| B | VII | Leading Tone (resolution) |
Tonic (I): The Home Base
The tonic is the first degree of the scale. For example, in C major, the tonic is C. The tonic feels like “coming home.” If you start or end a melody on it, the music sounds comfortable and complete. On the guitar, to find the tonic note, play through the C major scale and focus especially on the note C. You will hear how it gives the music a sense of balance.
Example: Play the C major scale. After each note, return to C. You will then hear with your own ears that the tonic is a safe and solid center.
Dominant (V): The Voice Calling You Home
The dominant is the fifth degree of the scale. In C major, this is G. The dominant moves slightly away from the tonic, yet it constantly longs to return home. When you hold the note G for a while in a melody, the ear naturally wants to resolve back to C. This dominant → tonic relationship is one of the strongest forces in music.
Example: First, play the melody C–D–E–C. Then play C–D–E–F–G and return to C. The difference between resolving from E to C and from G to C will help you better understand the dominant quality of G.
Subdominant (IV): The Departure Point
The subdominant is the fourth degree of the scale. In C major, this is F. It is the note that begins the movement away from the tonic, adding a sense of motion and forward direction to the music. When you move from F to G (the dominant) and then return to C, it creates a very strong feeling of resolution.
Example: First, play the melody C–D–E–G-C. Then play C–D–E–F–G-C and return to C. You will more clearly hear the driving function of the note F.
Leading Tone (VII): The Note That Demands Completion
The leading tone is the seventh degree of the scale. In C major, this is B. If you hold the note B on its own for a long time, your ear will constantly want it to resolve to C. It is used in melodies to create a strong sense of “needing resolution.”
Example: Simply play C–D–E–F–G–A–B and hold the note B. You will feel the strong urge to move on to C.
Other Degrees (II, III, VI): They provide color, connection, and dramatic contributions.
As another example, consider this melody from the C major scale:
C – E – G – B – C
- C (tonic): A sense of security at the beginning
- E (mediant): Acts as a connector
- G (dominant): Creates tension
- B (leading tone): Builds the need for resolution
- C (tonic): The return home
When you play this melody on your guitar, you will not only hear the scale but also experience functional harmony.
A Model
We can generally establish the following model:
| I and III | want to go | anywhere |
| II, IV and VI | want to go | II, IV, VI, V or VII |
| V and VII | want to go | I |
Examples:
| C → | F → | G → | C |
| I | IV | V | I |
| C → | F → | D → | G → | C |
| I | IV | II | V | I |
| C → | E → | A → | F → | D → | G → | C |
| I | III | VI | IV | II | V | I |
Functional Roles in Major and Minor Scales
Tonic (I)
- In Major (C): The absolute center. A resting point, “home.” Beginning or ending on C gives the music a sense of completeness.
- In Minor (C): Serves the same function, but the color is different. The minor tonic is a darker, more sorrowful center.
Whether in major or minor, the tonic is always the point of balance.
Supertonic (II)
- In Major (D): One step above the tonic. It usually carries a guiding quality. On its own, it is not a center, but it conveys a sense of motion.
- In Minor (D): Serves a similar role, but due to the darker color of the minor scale, it becomes a more dramatic passing note.
The supertonic often feels like the “initial push” in a melody.
Mediant (III)
- In Major (E): Connects the tonic and dominant. In melodies, it feels like a gentle, calm resting point.
- In Minor (E♭ / E):
- In natural minor (E♭): Provides a sorrowful, dramatic color.
- In harmonic minor (E): Becomes brighter, reducing the sense of heaviness.
The mediant is a point of lightness in major and a point of emotional or darker color in minor.
Subdominant (IV)
- In Major (F): Leads away from the tonic, guiding the harmony. It is the first step toward resolution.
- In Minor (F): Plays the same guiding role but with a darker color. In minor melodies, it creates a dramatic sense of “going elsewhere.”
The subdominant is like taking the melody “out of the house.”
Dominant (V)
- In Major (G): The strongest point of tension before the tonic. The ear naturally wants to return to C.
- In Natural Minor (G): Still functions as the dominant, but with less strength, since the 7th degree (B♭) does not pull strongly toward the tonic.
- In Harmonic Minor (G): Much stronger, because the 7th degree (B) pulls toward C by a half step.
The dominant is like the “signpost pointing the way back home” in a melody.
Submediant (VI)
- In Major (A): A softer, calmer secondary center. It adds different shades of color to melodies.
- In Minor (A♭ / A):
- In Natural Minor (A♭): Dark and melancholic in character.
- In Melodic Minor (A): Brighter, giving a lighter feeling.
The submediant noticeably shifts the emotional color of the melody.
Leading Tone (VII)
- In Major (B): The strongest note of resolution. The B → C movement is very powerful to the ear.
- In Natural Minor (B♭): The “leading tone” function disappears, since B♭ → C is a whole step. The pull toward resolution is weak.
- In Harmonic Minor (B): Becomes a strong leading tone again. The half-step pull from B → C creates a dramatic resolution.
The leading tone creates a sense of “incompleteness” in a melody, forcing resolution.
