184:
379:
204:
286:
37:
1489:
22:
74:
300:
299:
256:, or any other musical language related to Western European tonality. A more complete version starts the series of fifths on the chord of iii, iii–vi–ii–V–I, as in measures 11 and 12 of
240:. This is because the relationship between vi and ii and between ii and V is the same as that between V and I. If all chords were major (I–VI–II–V–I), the succession would be one of
316:), alternating major and minor chords. This progression is also frequent in jazz, where it is used in a shortened version ||: I vi | ii V7 :|| in what is nicknamed the "
282:
progression I–IV–vii°–iii–vi–ii–V–I can be used by analogy with the usual descending fifth progression, even though IV–vii° involves a diminished fifth.
232:
In major, the submediant chord also often appears as the starting point of a series of perfect descending fifths and ascending fourths leading to the
1727:
278:, as does the ii° chord itself; it may nevertheless be used in VI–ii°–V–I by analogy with the major. Similarly, a scale's full counterclockwise
760:
551:
1293:
301:
853:
695:
667:
646:
625:
575:
1210:
1120:
147:. For example, relative to the key of C major, the key of A minor is the submediant. In a major key, the submediant key is the
90:("lower dominant") or because its position below the tonic is symmetrical to that of the mediant above. (See the figure in the
1225:
728:
387:
and popular music, VI in minor often uses the chromatically lowered fifth scale degree as its seventh, VI, for example as in
600:
1636:
1235:
1220:
1015:
989:
985:
981:
946:
942:
938:
925:
411:
must have appeared soon after to similarly denote the note midway between the tonic and the subdominant. The German word
207:
187:
40:
25:
1393:
1758:
1464:
1250:
1230:
1215:
1240:
285:
237:
221:
1763:
1610:
1507:
1255:
1205:
1002:
121:
1408:
1337:
1245:
846:
415:
is found in 1771. In France, on the other hand, the sixth degree of the scale was more often called the
407:
appeared in
English in 1753 to refer to the note "midway between the tonic and the dominant". The term
291:
1631:
1615:
1449:
1113:
814:
331:
1200:
1195:
797:
720:
351:
1686:
1651:
1605:
392:
241:
210:
190:
152:
43:
28:
510:(minor relative of the major tonic), labeled Tp, and the major submediant in a minor key is the
73:
1577:
1498:
1433:
831:
756:
734:
724:
691:
663:
642:
621:
571:
547:
523:
335:
265:
224:
1646:
1582:
1535:
1320:
1167:
968:
866:
839:
712:
440:
275:
233:
156:
1597:
1469:
1413:
1373:
1363:
1347:
1288:
1172:
1162:
1106:
321:
313:
261:
249:
176:
713:
1737:
1732:
1572:
1567:
1474:
1278:
1265:
870:
862:
595:
452:
420:
355:
279:
257:
148:
91:
79:
67:
155:(change of key) to the submediant is relatively rare, compared with modulation to the
1752:
1641:
1587:
1559:
1515:
1488:
1428:
1423:
1383:
1182:
1144:
1129:
912:
708:
366:
359:
325:
309:
308:
Another frequent progression is the sequence of descending thirds (I–vi–IV–ii–|–V in
245:
125:
83:
1691:
1545:
1418:
1403:
1388:
1368:
1342:
1309:
1190:
998:
613:
503:
448:
339:
317:
82:. The submediant ("lower mediant") is named thus because it is halfway between the
298:
1706:
1701:
1676:
1671:
1530:
1398:
1378:
1332:
1273:
1157:
1152:
959:
950:
586:
the tonic triad analogous to that occupied by the mediant above the tonic triad.
563:
444:
419:, as the degree above the dominant. This reflects a different conception of the
347:
343:
144:
133:
129:
87:
53:
The scale and submediant triad in the C major (top) and C minor (bottom) Scale.
1696:
1520:
1283:
921:
471:
432:
388:
384:
98:
554:. "The lower mediant halfway between tonic and lower dominant (subdominant)."
498:) on both sides of the dominant – and the mediant left alone between the two.
1681:
1304:
738:
451:(or leading note) if it is a semitone under the tonic. (See the figure in
175:, V–vi in major or V–VI in minor. In a submediant chord, the third may be
1722:
1549:
1454:
1011:
459:
428:
171:
Amongst the primary roles played by the submediant chord is that in the
1525:
1459:
934:
436:
172:
160:
772:
328:
I, to the submediant (vi), to the supertonic ii, to the dominant V7.
128:
formed on the submediant is typically symbolized by "VI" if it is a
284:
59:
253:
1102:
835:
427:
In
English as in German, the tonic is flanked on both sides by
113:, as the degree above the dominant. This is its normal name (
1098:
209:
Audio playback is not supported in your browser. You can
189:
Audio playback is not supported in your browser. You can
42:
Audio playback is not supported in your browser. You can
27:
Audio playback is not supported in your browser. You can
506:, the minor submediant in a major key is considered the
788:, London, 3d edition, 1817, p. 137. (1st edition 1806.)
514:(major relative of the minor subdominant), labeled sP.
458:
In French and
Italian, a conception with two centres,
132:(the default in a minor mode) and by "vi" if it is a
1715:
1664:
1624:
1596:
1558:
1506:
1496:
1442:
1356:
1318:
1264:
1181:
1143:
1136:
813:See Nicolas Meeùs, "Scale, polifomia, armonia", in
570:, p. 120. 3rd edition. Holt, Rinehart, and Wilson.
447:– the 7th degree being more usually known as the
753:What to Listen for in Rock: A Stylistic Analysis
719:(5th ed.). Boston: McGraw-Hill. pp.
295:, "Zu dir wall' ich": I–vi–IV–ii–V progression
1114:
847:
8:
686:Andrews, William G.; Sclater, Molly (2000).
143:may also refer to a relationship of musical
682:
680:
678:
676:
482:) on both sides of the tonic, subdominant (
109:in a minor mode. It is occasionally called
1503:
1140:
1121:
1107:
1099:
879:
854:
840:
832:
784:The term can be found in John W. Calcott,
618:Modern Harmony in its Theory and Practice
369:: in major, as vi, or in minor as VI or
535:
274:to D diminished in C minor) involves a
244:. This submediant role is as common in
802:Allgemeine Theorie der schönen Künste
544:Music: In Theory and Practice, Vol. I
453:Degree (music)#Major and minor scales
365:Submediant chords may also appear as
7:
324:. This chord progression moves from
159:in a major key or modulation to the
354:, and share the same quality, i.e.
502:In the German theory derived from
101:system, the submediant is sung as
16:Tonal degree of the diatonic scale
14:
688:Materials of Western Music Part 1
578:. "The triad on VI is called the
1487:
601:Harmony: its theory and practice
296:
72:
825:, Torino, Einaudi, 2002, p. 84.
786:A Musical Grammar in Four Parts
582:because it occupies a position
136:(the default in a major mode).
1:
542:Benward & Saker (2003).
206:
186:
39:
24:
660:Harmony – A Course Of Study
1780:
1211:Dominant seventh flat five
639:Music Theory Resource Book
1485:
877:
819:Enciclopedia della musica
711:; Payne, Dorothy (2004).
435:, submediant /
751:Stephenson, Ken (2002).
658:Chadwick, G. H. (2009).
1728:Chord names and symbols
490:) and "superdominant" (
391:'s clearly minor mode "
211:download the audio file
191:download the audio file
44:download the audio file
29:download the audio file
1611:Secondary leading-tone
546:, p. 33. 7th edition.
381:
305:
268:from VI to ii° (e.g. A
122:Roman numeral analysis
804:, 1771, s.v. "Sexte".
637:Owen, Harold (2000).
377:
332:Chromatic submediants
288:
1616:Secondary supertonic
773:Etymology Dictionary
512:Subdominantparallele
105:in a major mode and
798:Johann Georg Sulzer
338:, are chords whose
242:secondary dominants
1759:Diatonic functions
1687:Chord-scale system
1606:Secondary dominant
823:Il sapere musicale
393:I Shot The Sheriff
336:chromatic mediants
306:
99:movable do solfège
1746:
1745:
1660:
1659:
1578:Chromatic mediant
1483:
1482:
1434:Viennese trichord
1096:
1095:
1091:
1090:
1087:
1069:
1045:
887:
775:, s.v. "Mediant".
761:978-0-300-09239-4
552:978-0-07-294262-0
524:Deceptive cadence
423:and its degrees:
342:are related by a
320:" progression by
302:
264:". In minor, the
225:chord progression
215:
195:
173:deceptive cadence
48:
33:
1771:
1504:
1491:
1299:
1298:
1256:Harmonic seventh
1226:Diminished major
1141:
1123:
1116:
1109:
1100:
1085:
1083:
1082:
1077:
1076:
1067:
1065:
1064:
1059:
1058:
1043:
1041:
1040:
1035:
1034:
885:
880:
856:
849:
842:
833:
826:
811:
805:
795:
789:
782:
776:
770:
764:
749:
743:
742:
718:
705:
699:
684:
671:
656:
650:
635:
629:
611:
605:
593:
587:
561:
555:
540:
374:
373:
304:
303:
276:diminished fifth
273:
272:
163:in a minor key.
77:
76:
1779:
1778:
1774:
1773:
1772:
1770:
1769:
1768:
1749:
1748:
1747:
1742:
1711:
1656:
1620:
1592:
1554:
1492:
1479:
1470:Synthetic chord
1438:
1409:Northern lights
1374:Complexe sonore
1352:
1338:Augmented sixth
1326:
1324:
1314:
1296:
1295:
1289:Upper structure
1260:
1246:Altered seventh
1241:Augmented minor
1236:Augmented major
1221:Half-diminished
1177:
1132:
1127:
1097:
1092:
1084:
1080:
1079:
1074:
1073:
1066:
1062:
1061:
1056:
1055:
1042:
1038:
1037:
1032:
1031:
1019:
1014:
1006:
1001:
993:
980:
972:
963:
954:
937:
929:
924:
916:
884:
873:
860:
830:
829:
812:
808:
796:
792:
783:
779:
771:
767:
750:
746:
731:
707:
706:
702:
685:
674:
657:
653:
636:
632:
612:
608:
594:
590:
562:
558:
541:
537:
532:
520:
508:Tonikaparallele
496:sopra-dominante
488:sotto-dominante
401:
380:
371:
370:
322:George Gershwin
314:first inversion
297:
270:
269:
262:Blues for Alice
250:classical music
230:
229:
228:
218:
217:
216:
214:
197:
196:
194:
169:
71:
56:
55:
54:
51:
50:
49:
47:
35:
34:
32:
17:
12:
11:
5:
1777:
1775:
1767:
1766:
1761:
1751:
1750:
1744:
1743:
1741:
1740:
1735:
1733:List of chords
1730:
1725:
1719:
1717:
1713:
1712:
1710:
1709:
1704:
1699:
1694:
1689:
1684:
1679:
1674:
1668:
1666:
1662:
1661:
1658:
1657:
1655:
1654:
1649:
1644:
1639:
1634:
1628:
1626:
1622:
1621:
1619:
1618:
1613:
1608:
1602:
1600:
1594:
1593:
1591:
1590:
1585:
1580:
1575:
1570:
1564:
1562:
1556:
1555:
1553:
1552:
1543:
1538:
1533:
1528:
1523:
1518:
1512:
1510:
1501:
1494:
1493:
1486:
1484:
1481:
1480:
1478:
1477:
1472:
1467:
1462:
1457:
1452:
1450:Mixed interval
1446:
1444:
1440:
1439:
1437:
1436:
1431:
1426:
1421:
1416:
1411:
1406:
1401:
1396:
1391:
1386:
1381:
1376:
1371:
1366:
1360:
1358:
1354:
1353:
1351:
1350:
1345:
1340:
1335:
1329:
1327:
1319:
1316:
1315:
1313:
1312:
1307:
1302:
1291:
1286:
1281:
1276:
1270:
1268:
1262:
1261:
1259:
1258:
1253:
1248:
1243:
1238:
1233:
1228:
1223:
1218:
1213:
1208:
1203:
1198:
1193:
1187:
1185:
1179:
1178:
1176:
1175:
1170:
1165:
1160:
1155:
1149:
1147:
1138:
1134:
1133:
1128:
1126:
1125:
1118:
1111:
1103:
1094:
1093:
1089:
1088:
1070:
1052:
1049:
1046:
1028:
1025:
1021:
1020:
1009:
1007:
996:
994:
975:
973:
966:
964:
957:
955:
932:
930:
919:
917:
910:
907:
906:
903:
900:
897:
894:
891:
888:
878:
875:
874:
871:diatonic scale
861:
859:
858:
851:
844:
836:
828:
827:
806:
790:
777:
765:
744:
729:
709:Kostka, Stefan
700:
672:
651:
630:
606:
596:Ebenezer Prout
588:
556:
534:
533:
531:
528:
527:
526:
519:
516:
500:
499:
484:sous-dominante
456:
421:diatonic scale
400:
397:
378:
367:seventh chords
360:altered chords
358:. They may be
356:major or minor
350:, contain one
280:circle of 5ths
258:Charlie Parker
219:
208:
205:
203:
202:
201:
200:
199:
198:
188:
185:
183:
168:
165:
149:relative minor
92:Degree (music)
80:diatonic scale
52:
41:
38:
36:
26:
23:
21:
20:
19:
18:
15:
13:
10:
9:
6:
4:
3:
2:
1776:
1765:
1764:Scale degrees
1762:
1760:
1757:
1756:
1754:
1739:
1736:
1734:
1731:
1729:
1726:
1724:
1721:
1720:
1718:
1714:
1708:
1705:
1703:
1700:
1698:
1695:
1693:
1690:
1688:
1685:
1683:
1680:
1678:
1675:
1673:
1670:
1669:
1667:
1663:
1653:
1650:
1648:
1645:
1643:
1642:Primary triad
1640:
1638:
1635:
1633:
1630:
1629:
1627:
1623:
1617:
1614:
1612:
1609:
1607:
1604:
1603:
1601:
1599:
1595:
1589:
1586:
1584:
1581:
1579:
1576:
1574:
1571:
1569:
1566:
1565:
1563:
1561:
1557:
1551:
1547:
1544:
1542:
1539:
1537:
1534:
1532:
1529:
1527:
1524:
1522:
1519:
1517:
1514:
1513:
1511:
1509:
1505:
1502:
1500:
1495:
1490:
1476:
1473:
1471:
1468:
1466:
1463:
1461:
1458:
1456:
1453:
1451:
1448:
1447:
1445:
1441:
1435:
1432:
1430:
1427:
1425:
1422:
1420:
1417:
1415:
1412:
1410:
1407:
1405:
1402:
1400:
1397:
1395:
1392:
1390:
1387:
1385:
1382:
1380:
1377:
1375:
1372:
1370:
1367:
1365:
1362:
1361:
1359:
1355:
1349:
1346:
1344:
1341:
1339:
1336:
1334:
1331:
1330:
1328:
1322:
1317:
1311:
1308:
1306:
1303:
1301:
1292:
1290:
1287:
1285:
1282:
1280:
1277:
1275:
1272:
1271:
1269:
1267:
1263:
1257:
1254:
1252:
1249:
1247:
1244:
1242:
1239:
1237:
1234:
1232:
1229:
1227:
1224:
1222:
1219:
1217:
1214:
1212:
1209:
1207:
1204:
1202:
1199:
1197:
1194:
1192:
1189:
1188:
1186:
1184:
1180:
1174:
1171:
1169:
1166:
1164:
1161:
1159:
1156:
1154:
1151:
1150:
1148:
1146:
1142:
1139:
1135:
1131:
1124:
1119:
1117:
1112:
1110:
1105:
1104:
1101:
1086:(Major/Minor)
1071:
1068:(Major/Minor)
1053:
1050:
1047:
1044:(Major/Minor)
1029:
1026:
1023:
1022:
1018:
1017:
1013:
1008:
1005:
1004:
1000:
995:
992:
991:
987:
983:
979:
974:
971:
970:
965:
962:
961:
956:
953:
952:
948:
944:
940:
936:
931:
928:
927:
923:
918:
915:
914:
909:
908:
904:
901:
898:
895:
892:
889:
886:(Major/Minor)
882:
881:
876:
872:
868:
864:
857:
852:
850:
845:
843:
838:
837:
834:
824:
820:
816:
815:J. J. Nattiez
810:
807:
803:
799:
794:
791:
787:
781:
778:
774:
769:
766:
762:
758:
754:
748:
745:
740:
736:
732:
726:
722:
717:
716:
715:Tonal Harmony
710:
704:
701:
697:
696:1-55122-034-2
693:
689:
683:
681:
679:
677:
673:
669:
668:1-4446-4428-9
665:
661:
655:
652:
648:
647:0-19-511539-2
644:
640:
634:
631:
627:
626:1-4067-3814-X
623:
619:
615:
614:Foote, Arthur
610:
607:
603:
602:
597:
592:
589:
585:
581:
577:
576:0-03-020756-8
573:
569:
568:Tonal Harmony
565:
560:
557:
553:
549:
545:
539:
536:
529:
525:
522:
521:
517:
515:
513:
509:
505:
497:
493:
492:sus-dominante
489:
485:
481:
477:
473:
469:
465:
461:
457:
454:
450:
446:
443: /
442:
438:
434:
431: /
430:
426:
425:
424:
422:
418:
417:sus-dominante
414:
413:Untermediante
410:
406:
398:
396:
394:
390:
386:
376:
368:
363:
361:
357:
353:
349:
345:
341:
337:
333:
329:
327:
323:
319:
315:
311:
310:root position
294:
293:
287:
283:
281:
277:
267:
263:
259:
255:
251:
247:
243:
239:
235:
226:
223:
212:
192:
182:
181:
180:
178:
174:
166:
164:
162:
158:
154:
150:
146:
142:
137:
135:
131:
127:
123:
118:
117:) in French.
116:
115:sus-dominante
112:
111:superdominant
108:
104:
100:
95:
93:
89:
85:
81:
75:
69:
66:is the sixth
65:
61:
45:
30:
1546:Leading-tone
1540:
1323: /
1310:Tone cluster
1191:Leading-tone
1010:
999:Leading-tone
997:
977:
976:
967:
958:
933:
920:
911:
822:
818:
809:
801:
793:
785:
780:
768:
752:
747:
714:
703:
687:
659:
654:
638:
633:
617:
609:
604:, 09/09/2010
599:
591:
583:
579:
567:
564:Forte, Allen
559:
543:
538:
511:
507:
504:Hugo Riemann
501:
495:
491:
487:
483:
480:sopra-tonica
479:
475:
468:sotto-tonica
467:
464:sous-tonique
463:
449:leading tone
416:
412:
408:
404:
402:
382:
364:
330:
318:I Got Rhythm
307:
290:
252:as it is in
231:
170:
140:
138:
119:
114:
110:
106:
102:
96:
63:
57:
1531:Subdominant
1394:Grandmother
1251:Nondominant
1231:Minor-major
960:Subdominant
821:, vol. II,
445:subdominant
352:common tone
348:minor third
344:major third
266:progression
134:minor triad
130:major triad
94:article.)
88:subdominant
1753:Categories
1665:Techniques
1652:Substitute
1647:Subsidiary
1583:Neapolitan
1541:Submediant
1521:Supertonic
1294:Dominant 7
1284:Thirteenth
1216:Diminished
1168:Diminished
978:Submediant
922:Supertonic
730:0072852607
690:, p. 226.
641:, p. 132.
580:submediant
530:References
476:sustonique
472:supertonic
433:supertonic
409:submediant
389:Bob Marley
292:Tannhäuser
153:Modulation
141:submediant
64:submediant
1682:Chordioid
1598:Secondary
1414:Petrushka
1348:Seven six
1305:Polychord
1173:Suspended
1163:Augmented
905:vii / VII
893:iii / III
867:functions
755:, p. 89.
662:, p. 36.
620:, p. 93.
403:The term
289:Wagner –
222:vi–ii–V–I
139:The term
1723:Arpeggio
1637:Contrast
1573:Borrowed
1568:Approach
1550:Subtonic
1536:Dominant
1508:Diatonic
1499:function
1455:Secundal
1357:Specific
1297:♯
1279:Eleventh
1266:Extended
1206:Dominant
1081:♭
1075:♮
1063:♭
1057:♮
1039:♭
1033:♮
1012:Subtonic
969:Dominant
739:51613969
616:(2007).
566:(1979).
518:See also
460:subtonic
441:dominant
429:subtonic
372:♯
271:♭
234:dominant
157:dominant
86:and the
1588:Passing
1560:Altered
1526:Mediant
1465:Quartal
1460:Tertian
1443:General
1429:Tristan
1424:So What
1384:Elektra
1325:omitted
1183:Seventh
1137:By form
935:Mediant
902:vi / VI
896:IV / iv
890:ii / ii
869:of the
863:Degrees
437:mediant
405:mediant
334:, like
246:popular
238:vi–ii–V
177:doubled
161:mediant
97:In the
78:) of a
1738:Factor
1692:Guitar
1632:Common
1475:Tetrad
1419:Psalms
1404:Mystic
1389:Farben
1369:Bridge
1343:Lydian
1130:Chords
817:(ed),
759:
737:
727:
694:
666:
645:
624:
574:
550:
470:) and
124:, the
68:degree
62:, the
1716:Other
1707:Slash
1702:Power
1677:Block
1672:Barre
1625:Other
1516:Tonic
1399:Magic
1379:Dream
1364:Alpha
1333:Sixth
1321:Added
1274:Ninth
1201:Minor
1196:Major
1158:Minor
1153:Major
1145:Triad
913:Tonic
899:V / v
883:I / i
584:below
340:roots
326:tonic
167:Chord
126:triad
84:tonic
60:music
1697:Open
951:(Sp)
865:and
757:ISBN
735:OCLC
725:ISBN
692:ISBN
664:ISBN
643:ISBN
622:ISBN
572:ISBN
548:ISBN
439:and
399:Name
385:rock
260:'s "
254:jazz
248:and
227:in C
145:keys
1497:By
1078:/ B
1060:/ A
1036:/ E
990:tCp
943:Tkp
721:231
395:".
383:In
375:vi:
346:or
312:or
120:In
58:In
1755::
1548:/
1016:dP
1003:D̸
988:,
986:sP
984:,
982:Tp
949:,
947:tP
945:,
941:,
939:Dp
926:Sp
800:,
733:.
723:.
675:^
598:,
494:,
486:,
478:,
466:,
455:);
362:.
236:,
220:A
179:.
151:.
107:fa
103:la
1300:9
1122:e
1115:t
1108:v
1072:B
1054:A
1051:G
1048:F
1030:E
1027:D
1024:C
855:e
848:t
841:v
763:.
741:.
698:.
670:.
649:.
628:.
474:(
462:(
213:.
193:.
70:(
46:.
31:.
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