The remaining secondary scale degrees serve to amplify or decorate tne basic functional design of the primary ones, Chords E6fit"on the secondary scale degrees act as substitutes for the primary chords by virtue of the tones in common: i Thi wi) ct 1 € reeie: 1 SiG. es Lgres Cras Th ti vit w the meéiant and sub-mediant chords (iii and vi) have very little rn me attonality; however, they tend to define the MODALITY taajor or minor mode of the’key) because they differ in each: For this reason they are referred to as the modal degrees of the eerie. over-emphacis of the mediant and sub-mediant functions +n Scpienonie progression will yield the effect of modality(a feeling a namie as opposed to the feeling of key in tonality). The supertonic chord-(4i) tends to become absorbed in the the sound of the sub-dominant chord. As a consequence the super- fonie functions es a substitute sub-dominant chord. The leading soe chord (vii°)is an incomplete dominant seventh chord and functions as a substitute dominant. Because of the active nature of the dominant chord, dominant harmony is the strongest in the framework of functional harmony. The dominant seventh chord (V’) will establish a key far more Toedily than tonic or sub-dominant chords. It is the chord that reat ’y present in order to establish a key since it is capable of functioning in only one key: Cost pt en at AB) 1) Major seventh chords function in two keyst a ob: I of ;: IV of G FA?:.T of Fy IV of Ce 2) Minor seventh chords function in three different keys: of 05 of BY; vi of F. of Di iii of C; vi of G. of G} iid of F} vi of Ce 3) Dominant seventh chords function in only one key: 67; v of Ce