Submediant


{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 7/4 c4 d e f g \once \override NoteHead.color = #red a b \time 2/4 c2 \bar "||"
  \time 4/4 <a c e>1 \bar "||"
} }

{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble
  \time 7/4 c4 d es f g \once \override NoteHead.color = #red aes bes \time 2/4 c2 \bar "||"
  \time 4/4 <aes c es>1 \bar "||"
} }
The scale and submediant triad in the C major (top) and C minor (bottom) Scale.

In music, the submediant is the sixth degree (scale degree 6) of a diatonic scale. The submediant ("lower mediant") is named thus because it is halfway between the tonic and the subdominant ("lower dominant")[1] or because its position below the tonic is symmetrical to that of the mediant above.[2] (See the figure in the Degree (music) article.)

In the movable do solfège system, the submediant is sung as la in a major mode and fa in a minor mode. It is occasionally called superdominant,[3] as the degree above the dominant. This is its normal name (sus-dominante) in French.

In Roman numeral analysis, the triad formed on the submediant is typically symbolized by "VI" if it is a major triad (the default in a minor mode) and by "vi" if it is a minor triad (the default in a major mode).

The term submediant may also refer to a relationship of musical keys. 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 relative minor. Modulation (change of key) to the submediant is relatively rare, compared with modulation to the dominant in a major key or modulation to the mediant in a minor key.

  1. ^ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p. 33. 7th edition. ISBN 978-0-07-294262-0. "The lower mediant halfway between tonic and lower dominant (subdominant)."
  2. ^ Forte, Allen (1979). Tonal Harmony, p. 120. 3rd edition. Holt, Rinehart, and Wilson. ISBN 0-03-020756-8. "The triad on VI is called the submediant because it occupies a position below the tonic triad analogous to that occupied by the mediant above the tonic triad.
  3. ^ Ebenezer Prout, Harmony: its theory and practice, 09/09/2010

© MMXXIII Rich X Search. We shall prevail. All rights reserved. Rich X Search