Functional Chords vs. Quality Chords

This topic is as dry as a gin martini. Some might not have a problem and if you are a member of this elite group, BULLY FOR YOU! Others (and I’m putting my hand up here), can get tripped up. The fact that we usually deal with both simultaneously in music theory lessons merely adds to the confusion. The only way I can keep these two miscreants straight is as follows.

Functional Chords

A functional chord is a chord that is going places. A chord on the go. A chord that has a place in the community. A chord with a mission. Might even run for parliament. It moves from one place to the next with the ultimate view of getting home. That’s all functional chords really want, is to go home. They are ultimately part of a great community that thrives on well-ordered stability, tonal key centers and apple pie. Picture a V⁷ chord with a briefcase hurrying down the street, holding its hat, and you’ve got the quintessential Functional chord.

Quality Chords

Quality chords, on the other hand, are a shiftless lot. You’ll find quality chords hanging around at the mall, shooting pool at the bar, and lounging around on street corners smoking cigarettes. They have no place to go and don’t belong to anyone. They won’t tell you their parentage. G⁷? Maybe it’s part of the C major clan, maybe the G major clan. Could even be part of the F major clan if it winds up in a G⁷-C-C⁷-F police lineup. But quality chords don’t exist to be used. They simply … exist. They don’t care about community or home or fitting into a nice progression. Picture a leather-jacketed G⁷ chord slouched against the wall, cigarette hanging from its lips as it  makes crude remarks to passersby. This is the quintessential quality chord--the James Dean of music theory.

I hope this helps in remembering how to differentiate between functional and quality chords. Or you could simply tell your students that functional chords use Roman numerals. That works too. 

Keep playing! Keep learning! Keep loving!