This post is the second part of a blog about solfège and relative pitch. The information below is all cumulative and builds a framework for identifying the harmony of a song based on the rules of solfège expounded in part 1. The post will define the 14 chord functions within a particular key. Then it will provide an outline to improve your ability to hear harmonies by ear.
– Thomas Dotson
Review of Part 1
Each note in our scale can be assigned to a syllable in solfège, from “Do” up the scale to “Do” again. There are seven syllables in the major key that each have their own tendencies, or relation to “Do.” Then there are five minor or flat (b) syllables that exist outside the key. Some of these minor intervals or pitches signal the minor mode (b3, b6, & b7) and some truly exist outside the key (b2 & b5). Combining both the major and minor syllables gives us the 12 pitches in Western music. The first part of this blog fully delineated the tendencies of each of these 12 pitches.
Beginning with Harmony
Before we begin applying the advantage of relative pitch to a song, we need to extrapolate our knowledge to harmony. We will apply our knowledge of solfège to the bass note or root of each chord in the song. Generally, we can organize the song into its appropriate form so that we can learn the sections in bulk. Once we recognize the solfège of the song’s chord roots —based on their tendencies— we will then determine the quality of the chord. To determine the quality of a chord often does not require perfect ears, but instead we can apply music theory to uncover the diatonic chord function.
Defining Chord Function and Its Role in Music
Within a particular key (diatonic), there are 7 primary chord functions and then 7 more secondary chord functions. In the major scale, the 7 diatonic chord functions are I ii iii IV V vi & viidim. To construct these chords, start on the root of the chord and then jump up a third twice to build a triad in the key. Within the major key, the I, the IV, and the V chords will all be major, the ii, iii, and vi chords will be minor, and lastly, the viidim chord will be diminished because of the tritone between the 7 and 4. Within a particular key, there are 7 secondary chord functions. These 7 secondary chords resolve to their respective primary chord. Five of these seven are dominant chords that can be understood as the V of another chord. The other two are a diminished resolution and a backdoor resolution. For the five dominant secondary chords, there is the V/ii or the VI7, the V/iii or the VII7, the V/IV or the I7, the V/V or the II7, and the V/vi or the III7. Our unique diminished resolution involves the biiidim, which resolves to the ii. Note that other diminished chords can be understood as extensions built on the 3 of a particular dominant. The last secondary chord is the iv6 or the bII7, known as the Beatles chord. This unique chord resolves to the I.
Now, with all 14 chord functions compiled, we can begin to decipher the chords of songs by ear. This practice is called harmonic dictation.
Recommended Harmonic Dictation Method
Start by locating the tonic of the song. This will function as our “Do”. Then listen for the first chord. Sing the root of that first chord. Generally, verifying the root on your instrument will solidify this skill of locating it quickly. Next listen to the resolving tendencies of this root. Does it want to resolve up or down? What is its relation and distance from “Do?” Once we have figured out the solfège of the chord’s, then ascertain if it exists within the key as a primary and not some type of dominant. Next, we will apply our music theory knowledge of chord functions to test if the chord follows its function. For instance, if we have identified the root as “Re” and we believe that it is functioning within our key as a primary chord, then “cateris paribus” it should be minor. If we discover that it is not minor, then we can check if it is possibly the V/V or the II7 (dominant II). If this is the case, then our next chord must be the V, according to harmony rules in music theory. We will repeat these steps with several chords until we have completed a section of the song’s form. As a teacher, I recommend that you learn sections separately so that you can memorize them as a unit. Over time, you, will refine your aural acuity. Your ear will recognize chord qualities before you have to cross-reference what you are hearing with music theory. Practice this skill with more basic songs that repeat the chords often (lofi, pop, then soundtracks) and gradually increase the complexity of your harmonic dictation (fusion, jazz, and finally classical). After a while, you will establish a relationship with all the chord functions. They will develop their own personality by the unique tone/mood with which they imbue the song.
Closing Thoughts About Practice
If you hone this skill with harmonic dictation, and you apply the solfège tendencies from the last post to melodic dictation, then you can learn any diatonic piece of music. You will temper your ability to hear harmonies over a lifetime of musical experience and exposure.
Remember that we practice ear training to foster deeper intimacy and understanding of our music, so remember to enjoy and trust the process. Happy practicing, artists! 🙂
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