177:
38:
408:
400:
92:
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185:
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major).... As a major triad on an unaltered or natural scale degree 7 in minor the VII functions as a secondary dominant triad in relation to the mediant." In the minor mode, the subtonic chord may also appear as a
186:
211:
symbol being often omitted by some theorists because the subtonic note appears in the natural minor scale. The flat symbol is used for the major scale because the subtonic is a non-
137:
below the tonic. The distinction between leading note and subtonic has been made by theorists since at least the second quarter of the 20th century. Before that, the term
412:) is often absent. In popular music, rather than "departures" or "aberrant", the "use of the 'flattened' diatonic seventh scale degree… should not even be viewed as
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441:
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372:
805:
Stell, Jason Travis. 2006. "The Flat-7th Degree in Tonal Music". PhD diss. Princeton: Princeton
University.
1090:
979:
741:
417:
198:
823:
323:
307:
280:
337:
97:
787:
555:, p. 315. J. Church. "The name in harmony sometimes given to seven of a diatonic scale," p. 344.
536:
521:
380:
299:
269:
227:
44:
600:, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001)
407:
399:
91:
808:
749:
701:
676:
666:
644:
620:
475:
222:
and
Dorothy Payne describe the subtonic chord (VII) as "sounding like the V in the key of the
945:
843:
816:
779:
303:
165:
566:
847:
839:
579:
429:
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109:
80:
371:
However, while "the leading-tone/tonic relationship is axiomatic to the definition of
1079:
889:
791:
636:
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219:
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25:
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is in actuality unnecessary. The mixture of major and minor is a simple fact in the
975:
451:
327:
208:
132:
128:
68:
29:
17:
316:
VII–I, where the subtonic is substituted for the dominant seventh. In this case,
183:
936:
927:
693:
612:
240:
writes that "hile VII in relation to C minor (I) becomes V in relation to III (E
237:
180:
In minor, the subtonic serves as secondary dominant to the mediant (Bach BWV 26)
157:
105:
954:
898:
783:
388:
113:
21:
619:, third edition (S.l.: Holt, Rinehart, and Wilson, 1979): pp. 116, 123.
680:
76:
156:
for the similar usage of a tone one whole step below the mode final in the
482:. "Used only to designate the seventh degree of the natural minor scale,"
212:
911:
376:
207:
VII" in a major key. In a minor key, it is often written as "VII", the
770:
Moore, Allan F. (1995). "The So-called 'Flattened
Seventh' in Rock".
596:(London: Macmillan Publishers, 2001); Harold C. Powers, "Subtonium",
474:, vol. 1, seventh edition (Boston: McGraw-Hill, 2003), p. 33.
60:
493:
Manual of
Harmonic Technique Based on the Practice of J. S. Bach
295:
812:
28:
note. For the scale degree one semitone below the tonic, see
197:
built on the subtonic note is called the subtonic chord. In
698:
Elements of the Jazz
Language for the Developing Improvisor
416:". In reference to chords built on the flattened seventh,
268:
Audio playback is not supported in your browser. You can
201:, the subtonic chord is symbolized by the Roman numeral "
43:
Audio playback is not supported in your browser. You can
141:
often referred to the leading tone triad, for example.
108:. In major keys, the subtonic sometimes appears in
665:(5th ed.). Boston: McGraw-Hill. p. 220.
567:A Theory of Harmony Founded on the Tempered Scale
96:). It appears as the seventh scale degree in the
598:The New Grove Dictionary of Music and Musicians
585:The New Grove Dictionary of Music and Musicians
495:(Philadelphia: Oliver Ditson, 1928), p. 7.
824:
8:
748:, p. 76. Barrie & Jenkins/W. W. Norton.
700:(Miami: CCP/Belwin, Inc, 1991), p. 82.
67:is the degree of a musical scale which is a
856:
831:
817:
809:
522:Music Composition: A New Method of Harmony
298:, the flattened seventh is also used as a
148:is also used as an English translation of
330:(its dominant seventh). The chords V and
79:, it is a lowered, or flattened, seventh
470:Bruce Benward and Marilyn Nadine Saker,
175:
127:The subtonic can be contrasted with the
54:The scale and subtonic triad in C minor.
661:Kostka, Stefan; Payne, Dorothy (2004).
608:
606:
463:
391:a diatonic scalic leading tone (i.e.,
729:
717:
116:system, the subtonic note is sung as
7:
340:: in C major, these chords are G–B–
16:This article is about the musical
14:
507:Herbert's Harmony and Composition
406:
398:
181:
90:
549:Root, George Frederick (1872).
251:(i.e. dominant seventh chord),
102:descending melodic minor scales
510:, p. 102. Pennsylvania State.
1:
519:Gardner, Carl Edward (1918).
504:Herbert, John Bunyan (1897).
472:Music: In Theory and Practice
588:, second edition, edited by
552:The Normal Musical Hand-book
420:argues that "the concept of
265:
40:
639:and Payne, Dorothy (1995).
1107:
15:
1048:
881:
854:
784:10.1017/S0261143000007431
249:major minor seventh chord
152:, the Latin term used in
746:Harmony in Western Music
373:common practice tonality
742:Goldman, Richard Franko
643:, p. 118. McGraw Hill.
525:, p. 48. Carl Fischer.
306:, V, especially in the
270:download the audio file
45:download the audio file
564:Stainer, John (1871).
418:Richard Franko Goldman
199:Roman numeral analysis
190:
154:Gregorian chant theory
540:, p. 14. H.P. Clack.
534:Clack, H. P. (1899).
179:
570:, p. 9. Rivingtons.
281:backdoor progression
322:VII functions as a
1086:Diatonic functions
326:borrowed from the
191:
114:movable do solfège
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537:Songs and Praises
480:978-0-07-294262-0
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308:backdoor cadence
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166:Mixolydian modes
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800:Further reading
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110:borrowed chords
104:but not in the
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848:diatonic scale
838:
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798:
797:
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778:(2): 185–201.
759:
758:
734:
732:, p. 186.
722:
720:, p. 187.
710:
686:
671:
653:
637:Kostka, Stefan
629:
602:
582:, "Subtonic",
580:Julian Rushton
572:
557:
542:
527:
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497:
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375:", especially
328:parallel minor
278:
267:
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224:relative major
173:
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53:
42:
39:
37:
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34:
13:
10:
9:
6:
4:
3:
2:
1103:
1092:
1091:Scale degrees
1089:
1087:
1084:
1083:
1081:
1063:(Major/Minor)
1045:(Major/Minor)
1030:
1027:
1024:
1021:(Major/Minor)
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863:(Major/Minor)
859:
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841:
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829:
827:
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820:
815:
814:
811:
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785:
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777:
773:
772:Popular Music
768:
767:
766:
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755:
754:0-214-66680-8
751:
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707:
706:1-57623-875-X
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664:
663:Tonal Harmony
657:
654:
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649:0-07-035874-5
646:
642:
641:Tonal Harmony
638:
633:
630:
626:
625:0-03-020756-8
622:
618:
617:Tonal Harmony
614:
609:
607:
603:
599:
595:
591:
590:Stanley Sadie
587:
586:
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494:
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485:
481:
477:
473:
467:
464:
457:
453:
450:
448:
447:VII–V cadence
440:
439:
435:
433:
431:
427:
423:
419:
415:
409:
401:
390:
386:
385:popular music
382:
378:
374:
369:
361:
357:
347:
343:
339:
336:VII have two
329:
325:
309:
305:
301:
297:
282:
271:
258:
250:
239:
235:
225:
221:
220:Stefan Kostka
216:
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196:
178:
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136:
135:
131:, which is a
130:
125:
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119:
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107:
103:
99:
98:natural minor
93:
82:
78:
74:
70:
66:
62:
46:
31:
27:
23:
19:
988:
987:
976:Leading-tone
974:
953:
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775:
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762:
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697:
689:
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632:
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613:Forte, Allen
597:
594:John Tyrrell
583:
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565:
560:
550:
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530:
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515:
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500:
492:
487:
471:
466:
452:Leading note
413:
370:
359:
355:
345:
341:
338:common tones
293:
226:—that is, a
217:
192:
149:
145:
143:
138:
133:
129:leading note
126:
121:
117:
81:scale degree
64:
58:
30:Leading note
18:scale degree
937:Subdominant
694:Jerry Coker
381:modulations
324:pivot chord
238:Allen Forte
106:major scale
75:note. In a
1080:Categories
955:Submediant
899:Supertonic
730:Moore 1995
718:Moore 1995
672:0072852607
414:departures
300:substitute
218:Theorists
71:below the
69:whole step
24:below the
22:whole step
882:vii / VII
870:iii / III
844:functions
792:162661553
426:Classical
422:borrowing
283:in C: ii–
150:subtonium
144:The word
134:half step
112:. In the
77:major key
1058:♭
1052:♮
1040:♭
1034:♮
1016:♭
1010:♮
989:Subtonic
946:Dominant
744:(1965).
681:51613969
444:♭
436:See also
394:♮
377:cadences
365:♭
351:♭
333:♭
319:♭
313:♭
304:dominant
302:for the
286:♭
254:♭
243:♭
231:♭
213:diatonic
204:♭
162:Phrygian
146:subtonic
139:subtonic
86:♭
65:subtonic
912:Mediant
879:vi / VI
873:IV / iv
867:ii / ii
846:of the
840:Degrees
764:Sources
790:
752:
704:
679:
669:
647:
623:
478:
215:note.
164:, and
158:Dorian
63:, the
890:Tonic
876:V / v
860:I / i
788:S2CID
458:Notes
383:, in
348:and B
310:, ii–
289:VII–I
257:VII.
228:V of
195:triad
172:Chord
73:tonic
61:music
26:tonic
928:(Sp)
842:and
750:ISBN
702:ISBN
677:OCLC
667:ISBN
645:ISBN
621:ISBN
592:and
476:ISBN
428:and
389:rock
387:and
379:and
296:jazz
209:flat
193:The
120:(or
100:and
20:one
1055:/ B
1037:/ A
1013:/ E
967:tCp
920:Tkp
780:doi
432:."
294:In
236:."
234:III
124:).
59:In
1082::
993:dP
980:D̸
965:,
963:sP
961:,
959:Tp
926:,
924:tP
922:,
918:,
916:Dp
903:Sp
786:.
776:14
774:.
696:,
675:.
615:,
605:^
368:.
362:–A
279:A
168:.
160:,
122:ta
118:te
1049:B
1031:A
1028:G
1025:F
1007:E
1004:D
1001:C
832:e
825:t
818:v
794:.
782::
756:.
708:.
683:.
651:.
627:.
404:–
360:F
358:–
356:D
354:–
346:F
344:–
342:D
272:.
83:(
47:.
32:.
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