The Function of a Flattened VII Chord in G Major: Subdominant or Dominant?

Understanding the role of a flattened VII chord, such as an F major chord, in a G major key is critical for musicians looking to deepen their knowledge of chord progressions and harmony. This article explores the primary functions of the flattened VII chord, delving into its subdominant and dominant-like roles.

Subdominant Function

The flattened VII chord, often denoted as F major, functions primarily as a subdominant in a G major setting. This function is characterized by its smooth and natural resolution to the tonic, the G major chord. When used in a progressions like F - G, the F chord provides a sense of relaxation and preparation for the impending resolution to the tonic (G). It serves a crucial role in creating a flow between the key of G major and the subdominant C major.

Modal Interchange

The use of the flattened VII chord can also be attributed to modal interchange. In this case, the F major chord borrows from the G Mixolydian scale, which includes the flattened seventh. This borrowing contributes an additional layer of complexity and color to the harmony, making the music more interesting and expressive.

Dominant Function

While the flattened VII chord is not typically a dominant chord (which would be the V chord, D major in this case), it can create a strong pull towards the tonic when used strategically. For example, in a progression like G - F - C, the F chord can create a sense of tension that resolves to the dominant G and then to the tonic C. This makes it a hybrid between a true dominant function and a subdominant.

Example Progression

A common and effective progression using the flattened VII chord is F - G - C. In this context, the F major chord serves as a subdominant leading to the dominant G and resolving to the tonic C in a broader harmonic context. This progression is widely used in both popular music and jazz to create a cohesive and engaging sound.

Additional Considerations

The flattened VII chord can have different functions depending on the context. Sometimes, it can serve as a slightly wimpy yet pretty sounding maj7 chord, particularly when it plays a role in dominant-like functions. An example of this is a progression like G7 - Fmaj7 - C7 - BbMaj7 - D7 - Cmaj7. Here, the flattened VII (Bb7) and BbMaj7 have a dominant function, as they create tension and anticipation that resolves to the next chord.

Another classic example is the progression G - F - C. In this context, the F chords follows an IV to IV pattern, serving as a subdominant. However, when used in a progression like G - F - Bm, the F chord introduces a dominant-like sense, as it announces the minor i chord with a strong pull towards it.

Some classical theory books refer to the flattened VII chord as 'Like Sympathy for the Devil' in relation to its relationship with the IV chord. This means that when the flattened VII chord is followed by the IV, it can be seen as subdominant, but when used to lead directly to the i chord, it takes on a more dominant-like role. In both instances, the flattened VII chord can be used to create interesting harmonic tension and resolution.

Conclusion

In conclusion, the flattened VII chord in G major primarily functions as a subdominant, but it can also play a more dominant-like role in certain progressions. Understanding these nuances is essential for musicians looking to add depth and complexity to their compositions and improvisations. Remember, while these are my observations, they can be demonstrated and explored in real musical settings, providing endless opportunities for creative expression.

Keywords: flattened VII chord, F major in G major, modal interchange, dominant subdominant