- Identify heard chords by scale-degree function rather than absolute name.
- Distinguish tonic, dominant, and other diatonic chords through their stated qualities of rest and tension.
- Recognize the stated constructions and characteristic effects of common chromatic and altered chords.
- Apply a tonic-first workflow to interpret chord progressions by ear.
Relative Pitch Foundations
Relative pitch treats chords as scale-degree functions and progression relationships within a key.
Musicians can learn to work out a song's chords by ear. Perfect pitch identifies a heard chord by its absolute name, while relative pitch identifies it by scale-degree function.
A progression is moved to another key while retaining the relationship one–four–five–one. What changes, and what remains the same?
Its pitch level changes, while the one–four–five–one relationship and musical effect remain the same.
Tonic, Dominant, and Subdominant Functions
The one and five chords provide contrasting reference points of resolution and tension, while four-to-one offers a weaker release than five-to-one.
Compare two arrivals on one: four-to-one produces less release and relief than five-to-one.
One heard chord sounds completely at rest, and another carries the greatest tension in the key. Give the probable functional labels for both.
The resting chord is probably the tonic or one chord; the highly tense chord is the dominant or five chord.
The Six, Two, and Three Chords
The six, two, and three chords have distinct stated relationships to rest, tension, and resolution in a major key.
| Chord | Stated quality |
|---|---|
| Six | An alternative place of rest and resolution; an ending on six can sound darker than an ending on tonic. |
| Two | Minor by default in a major scale; similar in functional feel to four but minor; tends toward eventual resolution without urgency. |
| Three | Minor by default in a major scale; balances qualities of tension and rest. |
A minor chord in a major key seems neither fully at rest nor fully tense. Which discussed scale-degree function matches that description?
The three chord.
Chromatic Flat Chords
Chromatic flat-chord labels identify chords built on lowered scale degrees, with several stated listening effects.
- Flat-seven is built on the lowered seventh degree and can create an open and epic sound.
- Flat-three is built on the lowered third degree; in a major key, it mixes major tonality with a chord rooted on the minor third.
- Flat-six is built on the lowered sixth degree; landing on it can feel like an unusual change in tonal space.
- Flat-two is built on the lowered second degree.
- A chord on the flattened fifth degree can also be understood as a chord on the sharpened fourth degree.
Which two functional labels can describe a chord on the altered degree identified as flattened five or sharpened four?
Flat-five and sharp-four.
Altered Diatonic Chords
Altered chord qualities have stated sounds and directional tendencies that can support functional identification.
Minor-four is a minor alteration of the normally major four chord in a major key. It is associated with a melancholic, bittersweet, and longing sound, and major four–minor four–one is a common use.
| Altered chord | Stated tendency or quality |
|---|---|
| Major-three | Usually pulls toward four or six; when it resolves to six, it functions as a secondary dominant. |
| Major-two | Often resolves to five, but does not have to do so. |
| Major-six | Commonly pulls toward two. |
| Major-seven | Rare and can sound jarring in a major key. |
| Minor-five | Can sound reflective and wistful. |
A heard major-two chord moves to five. Does this match its stated tendency, and is that destination mandatory?
Yes. Major-two often resolves to five, but it does not have to do so.
Ear-Training Workflow and Progressions
Begin with the tonic, use it as the reference for other chords, and remain alert to progressions that do not start on one or contain several non-diatonic chords.
- Identify the key or tonic first.
- Use the located tonic as the reference for identifying the other chords.
Further C-major examples are one–flat-seven–six–four: C, B-flat, A minor, F major; four–minor-four–one: F, F minor, C; and one–flat-two–flat-six–flat-seven: C, D-flat, A-flat, B-flat.
In C major, translate C–B-flat–A minor–F major into scale-degree functions, then state whether a progression must start on one.
The functions are one–flat-seven–six–four. A progression does not have to start on one.
Common misconceptions
Watch out: Working out chord progressions by ear requires identifying every chord by its absolute name.
Instead: Relative pitch identifies chords by scale-degree function, and progressions can be heard as relationships such as one–four–five rather than absolute names such as C–F–G.
Watch out: Any chord that sounds completely at rest must be the tonic.
Instead: Complete rest suggests that the chord is probably the tonic; the statement is a listening heuristic rather than a certainty.
Watch out: A major-two chord must resolve to five.
Instead: Major-two often resolves to five, but it does not have to do so.
Watch out: Every chord progression starts on the one chord.
Instead: A progression does not have to start on one, although starting on one is described as probably the most common pattern.
Lesson recap
- Relative pitch identifies chords by scale-degree function rather than absolute name.
- Tonic sounds resolved and finished, while dominant carries the greatest tension in the key.
- Six can offer alternative rest, two tends toward resolution without urgency, and three balances tension and rest.
- Chromatic flat chords and altered diatonic chords have stated constructions, qualities, and directional tendencies that support identification.
- Begin ear work by identifying the key or tonic, then use the tonic as the reference for other chords.