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The Subdominant ChordContents here - check what you've missed! The process we're going through here may seem a bit drawn out and meticulous, but trust me, you will begin to see the big picture as more pieces of the "puzzle" come together. If we're going to do this, we may as well do it properly, right? So far, we should understand the relationship between two important "staple" chords in music - the tonic (I) and dominant (V). Time for the next logical step... The subdominantLet's now add in a new staple chord, also part of this major-key "chord scale" we're building... the subdominant chord, represented by an IV (4) numeral. This, like the tonic and dominant of major key chord progressions, is a major chord. We'll look at what types of major chord "fit" later.To understand why the subdominant is numbered as the 4th chord in relation to the tonic, it's helpful to take a quick look at the major scale, like we did in the first part to understand why the dominant chord falls as the 5th chord... 1 W
2 W 3 H
4
W 5 W
6 W 7 H
1
 So, we learned in part one that we can build a chord on each degree/note of the major scale (and it doesn't have to be layed out like in the boxed pattern above). The tonic (I) chord is built on the 1st degree, which is why it defines the key of a progression. The dominant (V) is built on the 5th degree. The subdominant (IV) is built on the 4th degree. Look at where the 4th note lies in relation to the 5th. It lies one whole step (W) down from the 5th. One whole step is the equivalent of one fret space. Therefore, using your knowledge of the tonic-dominant root note relationships at different fret positions from the first part, you should know where the subdominant (blue square) would fit into that... Tonic root note on low E string...  Tonic root note on A string...  Tonic root note on A string (but this time with lower octave dominant)...  Tonic root note on D string...  As we learned before, we build chords from these root note positions to add to the "chord scale". We now have a 3rd root note to build the major sub-dominant chord from, in relation to the others. Remember, these relationships are movable. They keep their formation as you move them up or down the fretboard - just like a scale pattern when changing key. When the tonic chord changes key, the other chords in the scale move in relation to it. This is why you can play the exact same song in several keys. Subdominant function Ignoring the dominant for now, if you play a tonic major chord followed by its related subdominant (use the root note relationships from above) you get what can best be described as a "relaxed" state. Unlike the dominant, the subdominant doesn't feel so "unresolved" or tense. As a result, musicians are able to stick around on the subdominant as a sort of intermediate break within the progression, without the listener feeling too far "away from home". Take a listen below to a very simple I - IV movement that showcases the musical relaxation of moving to the subdominant... Click to hear > So even though I hung around on that subdominant chord, for longer than the time I spent on the tonic, it still had that resolved feeling when I returned back to the tonic. However, there was far less unresolved tension than there would be if we tried the same with the dominant. Staple I IV V progressionsLet's play around with some typical 3-chord examples, using the root note positions from above. I'm simply building barre chords onto those root notes, but if one of the root notes is on D, for example, you could play a D open chord. Same with a C root note - C open chord. Barred or open - your choice! You just need to know your open chords.It'll also be helpful to know the notes on the fretboard. Progression: I - IV - V (...simply repeat) This commonly used progression highlights the role of the subdominant used directly before the more tense dominant chord. It acts as a natural lead-up to the unresolved dominant chord.
Progression: I - V - IV Another very commonly used progression, and just an IV - V switch around of the above. The subdominant now becomes the unresolved chord, yet still with less tension than when the dominant is used in that position.
Progression: I - IV - I - V This progression alternates from the tonic between the sub-dominant and dominant. From this, we can hear the distinction between the dominant as a tension chord and the subdominant as more of a "relaxed" point away from the tonic "home" chord. You could also switch it around to I - V - I - IV for a similar relax - tension alternation.
...and remember, you don't always have to start on the tonic chord. For example... V - I - IV - click to hear > IV - V - I - click to hear > It's amazing how many songs in the rock, pop and even classical realm have used just these 3 chords, in different combinations, with different rhythms and tempos, chord extensions etc. As far as rhythm and timing goes... it's really up to you how long you spend on a particular chord within a progression. Don't just count 4 beats for each chord - mix it up, experiment and see if you can enhance the relationship. As we progress further through this course, we'll build up an entire scale (and beyond...) in which you can integrate this I IV V relationship. In other words, it can either work as a chord progression on its own, or it can be part of a larger musical expression! Next lesson, just as we did with the dominant chord, we'll see how we can enhance the subdominant chord using its natural chord extensions. For now though, time for a cold beer I think. But while you relax, just watch this great summary video of what we've just learned. See you next time!  < Guitar Songwriting Contents
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