4.5 Scale degree names and functions

Scale degrees are the building blocks of music theory, providing a framework for understanding melody and harmony. Each note in a scale has a specific name and function, from the stable tonic to the tension-creating dominant. These roles shape how music moves and resolves.

Understanding scale degrees is crucial for composing, analyzing, and performing music. They influence melodic tendencies, harmonic progressions, and overall tonal structure. By mastering scale degrees, musicians can better grasp the inner workings of musical compositions across various styles and genres.

Scale degree names

• Scale degrees are the notes of a scale, numbered from 1 to 7, with each number representing a specific note's position and function within the scale
• The names of the scale degrees provide a way to refer to specific notes within a scale, regardless of the key or specific pitches being used

Tonic

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• The first scale degree, also known as the keynote or root of the scale
• Serves as the tonal center and provides a sense of resolution and stability
• In the key of C major, the tonic is the note C

Supertonic

• The second scale degree, located one whole step above the tonic
• Often functions as a predominant chord, leading toward the dominant
• In the key of C major, the supertonic is the note D

Mediant

• The third scale degree, located midway between the tonic and the dominant
• Plays a role in both tonic and dominant function, depending on the harmonic context
• In the key of C major, the mediant is the note E

Subdominant

• The fourth scale degree, located a perfect fourth above the tonic
• Serves a predominant function, often leading toward the dominant
• In the key of C major, the subdominant is the note F

Dominant

• The fifth scale degree, located a perfect fifth above the tonic
• Plays a crucial role in establishing tonality and creating tension that resolves to the tonic
• In the key of C major, the dominant is the note G

Submediant

• The sixth scale degree, located midway between the subdominant and the tonic
• Often serves a tonic function, acting as a substitute for the tonic chord
• In the key of C major, the submediant is the note A

Leading tone vs subtonic

• The seventh scale degree, located a half step below the tonic
• In major scales and harmonic minor scales, the seventh degree is called the leading tone, which has a strong tendency to resolve upward to the tonic
• In natural minor scales, the seventh degree is called the subtonic, which is a whole step below the tonic and lacks the strong upward pull of the leading tone
• In the key of C major, the leading tone is the note B, while in C natural minor, the subtonic is the note B♭

Functions of scale degrees

• Scale degrees can be grouped into three main functional categories: tonic, predominant, and dominant
• These functions describe the role each scale degree plays in creating and resolving musical tension within a piece

Tonic function

• Scale degrees 1, 3, and 6 (tonic, mediant, and submediant) are associated with tonic function
• Tonic function provides a sense of stability, rest, and resolution
• Chords built on these scale degrees (I, iii, and vi) often serve as tonic substitutes or extensions

Predominant function

• Scale degrees 2 and 4 (supertonic and subdominant) are associated with predominant function
• Predominant function creates tension and instability, often leading toward the dominant
• Chords built on these scale degrees (ii and IV) frequently precede the dominant chord in harmonic progressions

Dominant function

• Scale degrees 5 and 7 (dominant and leading tone/subtonic) are associated with dominant function
• Dominant function creates the strongest sense of tension and the desire for resolution back to the tonic
• The dominant chord (V) and the diminished chord built on the leading tone (vii°) are the primary chords with dominant function

Scale degree tendencies

• Each scale degree has its own unique tendencies or inclinations to move toward other scale degrees
• Understanding these tendencies helps in creating melodies, harmonies, and voice leading that sound natural and coherent

Tendency tones

• Tendency tones are scale degrees with a strong inclination to resolve in a specific direction
• The leading tone (scale degree 7 in major and harmonic minor scales) has a strong tendency to resolve upward to the tonic
• The subdominant (scale degree 4) has a tendency to resolve downward to the mediant
• The supertonic (scale degree 2) has a tendency to resolve upward to the mediant

Resolution of tendency tones

• In traditional harmony, tendency tones are often resolved according to their inclinations
• The leading tone typically resolves upward by a half step to the tonic
• The subdominant typically resolves downward by a whole step to the mediant
• The supertonic can resolve upward by a whole step to the mediant or downward by a half step to the tonic, depending on the harmonic context

Scale degree in major vs minor

• While major and minor scales share the same scale degree names and functions, there are some differences in the intervals between certain scale degrees

Raised 7th degree in minor

• In harmonic minor scales, the 7th scale degree is raised by a half step, creating a leading tone that resolves strongly to the tonic
• This raised 7th degree is used to create a dominant chord (V) with a major third, which strengthens the dominant-tonic resolution

Lowered 6th and 7th degrees in natural minor

• In natural minor scales, the 6th and 7th scale degrees are lowered by a half step compared to the major scale
• The lowered 6th degree (submediant) and 7th degree (subtonic) create a darker, more somber sound associated with minor tonality
• The lowered 7th degree in natural minor does not have the same strong upward pull as the leading tone in major or harmonic minor scales

Scale degree in melody

• Understanding scale degrees is essential for creating and analyzing melodies

Melodic tendencies of scale degrees

• Melodies often follow the tendencies of scale degrees, with tendency tones resolving according to their inclinations
• The tonic is a common starting and ending point for melodies, providing a sense of stability
• The leading tone often resolves upward to the tonic, creating a sense of finality or resolution
• The dominant and subdominant scale degrees are frequently used to create tension and movement in melodies

Recognizing scale degrees by ear

• Developing the ability to recognize scale degrees by ear is a crucial skill for musicians
• Relative pitch exercises, such as solfège or scale degree numbers, can help train the ear to identify the unique sounds and functions of each scale degree
• Regularly practicing melodic dictation and sight-singing exercises can improve the ability to recognize and reproduce scale degrees in melodies

Scale degree in harmony

• Scale degrees form the basis for building chords and understanding harmonic progressions

Primary triads

• The primary triads are chords built on the tonic, subdominant, and dominant scale degrees (I, IV, and V)
• These chords are the most important and frequently used in tonal harmony
• Primary triads establish the key center and create the fundamental harmonic structure of a piece

Secondary triads

• Secondary triads are chords built on the remaining scale degrees (ii, iii, vi, and vii°)
• These chords provide harmonic variety and can serve as substitutes or extensions of the primary triads
• Secondary triads are often used to create smooth voice leading and add interest to harmonic progressions

Functional harmony using scale degrees

• Functional harmony is based on the relationships between chords built on different scale degrees
• Chords are categorized into tonic, predominant, and dominant functions based on their scale degree and role in creating and resolving tension
• Common functional harmonic progressions include I-IV-V-I (tonic-predominant-dominant-tonic) and I-vi-ii-V-I (tonic-tonic substitute-predominant-dominant-tonic)
• Understanding scale degrees and their functions is essential for analyzing and composing music using functional harmony