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50. The Three Primary Chords (Natural Minor) and Their Functions 1

Music Theory for BeginnersPublished 2016.11.20Updated 2026.07.17

Understanding the Functions of Natural Minor Diatonic Chords

This time, we will learn how to use natural minor diatonic chords to create "development".
And while being aware of the differences from major, let's also gradually unravel why there are three types of minor.
We learned about major in Lesson 28.

With natural minor too, in songs where you want a sense of story, you need to arrange chords with their "function" in mind.
As with major, if you arrange chords without considering their functions, the progression may sound like it is going around in circles, or its "introduction, development, twist and conclusion" may become unclear and hard to listen to.

The Three Primary Chords of Natural Minor

As a first step, let's get a grip on the three most important chords, the primary chords.
We will use the keys of C major and C minor as samples.
Let's start with major.

Among the scale degree names of major,

  • Tonic
  • Subdominant
  • Dominant

these terms appeared.
And we explained that the chords built on these three are called the primary chords and have a very important meaning in chord progressions.

Next, let's look at the scale degree names of natural minor.

There are various notations, such as writing them without flats (III, VI, VII) or showing minor chords in lowercase (iii, etc.).

Here too, there are

  • Tonic
  • Subdominant
  • Dominant

.
Let's build diatonic chords on them.

  • Triads

  • Four-note chords

Now let's focus on the difference between major and minor.
In major, the primary chords were all major-type chords (containing a major 3rd): "major triad," "major seventh" and "dominant seventh."

Major diatonic triads

In contrast, the primary chords of (natural) minor are all minor-type chords (containing a minor 3rd): "minor triad" and "minor seventh".

First, keep this difference in mind.

Functions of the Primary Chords

Let's also review the functions of the primary chords.

  • T = Tonic chord
    The central presence in the key.
    It has a strong sense of stability and is often used as the chord that begins or ends a song.
    *If you analyze songs, you will probably find many that don't start on the tonic.
  • SD (or S) = Subdominant chord
    A chord with a character between T and D that can add color and a sense of development to a chord progression.
    Moving from T to SD creates development in the chord progression and also gives a floating feeling.
    Using it before D makes the sense of resolution you get at T smoother and stronger.
  • D = Dominant chord
    A chord with a very strong pull back to I = T = the tonic chord.
    Returning from the dominant to the tonic brings the chord progression to a pause, giving a "sense of cadence" that it has ended. (Especially when returning to I)
    Also, in terms of instability, tension and pull back home, V7 is stronger than V.

Except for the dominant chord, this image is the same for both major and natural minor.
One key point is that the dominants of natural minor (dominant minor), "Vm" and "Vm7," contain neither a leading tone nor a tritone, so they have no instability or tension, and their pull back home is weak.

The primary chords of minor are often written as the Tm (tonic minor) chord, the SDm (or Sm) (subdominant minor) chord and the Dm (dominant minor) chord, so remember these as well.

Let's also check the primary chords of each natural minor key in a table.
Blue represents T or Tm, green represents SD or SDm, and red represents D or Dm.

  • Triads

  • Four-note chords

How Functions Change in Relative Keys

Finally, now that both major and natural minor have appeared, let's also check the difference in functions between relative keys.
C major and A minor are relative keys.

In that case, notice that the chords built from the scale are the same, but their functions are different.

  • Diatonic chords of C major (four-note chords)

  • Diatonic chords of A minor (four-note chords)

Keeping this point in mind is also very helpful for identifying the key when analyzing songs.

Next time, as with major, we will check natural minor by applying it to "the smallest unit of a chord progression," the "cadence."
We will also look at a version with an added leading tone, which creates a "pull back home."


Frequently Asked Questions

Q1. Why is the dominant chord of natural minor different from major?

The dominants of natural minor (V, V7) contain neither a leading tone nor a tritone, so their pull back to the tonic is weak. They are characterized by not having as much tension or instability as the dominant seventh in major.

Q2. What are the roles of the three chords: tonic, subdominant and dominant?

The tonic is the central chord with a sense of stability, the subdominant gives a sense of development and a floating feel, and the dominant has a strong pull back to the tonic and creates a sense of cadence. Using these three appropriately gives a chord progression a clear sense of story.

Q3. Why does the function of the same chord change between major and minor keys?

In relative keys (for example, C major and A minor), the chords are the same, but which chord is the center (the tonic) differs, so the role (function) of each chord changes. Understanding this point helps you identify the key.