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Tonal degree of the diatonic scale
In music, the subdominant is the fourth tonal degree () of the diatonic scale. It is so called because it is the same distance below the tonic as the
Subdominant
Musical term
Riemann identified three abstract tonal "functions"—tonic, dominant and subdominant—denoted by the letters T, D, and S, respectively, each of which could
Function_(music)
Tonal center of a diatonic scale
prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the
Tonic_(music)
Harmonic grouping of notes
Degrees for Major Keys Roman Numeral Scale Degree I tonic ii supertonic iii mediant IV subdominant V dominant vi submediant VII subtonic vii leading tone
Chord_(music)
Type of chord
generally, these chords share the function of the chord to which they link: subdominant parallel, dominant parallel, and tonic parallel. Riemann defines the
Parallel_and_counter_parallel
Tonal degree of the diatonic scale
prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the
Dominant_(music)
Position of a musical note on a scale relative to the tonic
based on the Viennese theory of degrees: tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic or leading note (leading tone in the
Degree_(music)
Musical composition by Pachelbel
major dominant V 3 B minor submediant vi 4 F♯ minor mediant iii 5 G major subdominant IV 6 D major tonic I 7 G major subdominant IV 8 A major dominant V
Pachelbel's_Canon
Minor musical scale based on the note A
minor are: Tonic – A minor Supertonic – B diminished Mediant – C major Subdominant – D minor Dominant – E minor Submediant – F major Subtonic – G major
A_minor
Type of musical chord
samba and bossa nova. Another common use of the chord is as a sharpened subdominant with diminished seventh chord. This is represented by the Roman notation
Diminished_seventh_chord
Musical term
with predominant (subdominant) function, normally resolving to a dominant chord. Examples of predominant chords are the subdominant (IV, iv), supertonic
Predominant_chord
Harmonic device in Western music
in G major), and ii7/IV (Bmin.7, in E major). The secondary subdominant is the subdominant (IV) of the tonicized chord. For example, in G major, the supertonic
Secondary_chord
Species of tropical evergreen tree
in coastal Yucatán, in the Petenes mangroves ecoregion, where it is a subdominant plant species. It was introduced to the Philippines during Spanish colonization
Manilkara_zapota
Major key and scale based on the note G
G major are: Tonic – G major Supertonic – A minor Mediant – B minor Subdominant – C major Dominant – D major Submediant – E minor Leading-tone – F-sharp
G_major
Composer and musician (1756–1791)
music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly
Wolfgang_Amadeus_Mozart
Tonal degree of the diatonic scale
mediant") is named thus because it is halfway between the tonic and the subdominant ("lower dominant") or because its position below the tonic is symmetrical
Submediant
Minor key and scale based on F
are: Tonic – F minor Supertonic – G diminished Mediant – A-flat major Subdominant – B-flat minor Dominant – C minor Submediant – D-flat major Subtonic
F_minor
Musical structure of three main sections
group may be in a key other than tonic, most often in the subdominant, known as a "subdominant recapitulation". In some pieces by Mozart, such as Mozart's
Sonata_form
Major key and scale based on E
are: Tonic – E major Supertonic – F-sharp minor Mediant – G-sharp minor Subdominant – A major Dominant – B major Submediant – C-sharp minor Leading-tone
E_major
1966 song by Joe Zawinul, Cannonball Adderley
feeling although it does not follow a typical blues progression. The subdominant (IV) chord in the beginning section emphasizes this bluesy feeling. In
Mercy,_Mercy,_Mercy
Prominent chord progression in popular music
notation – chords are represented by T to indicate the tonic, S for the subdominant, and D for the dominant: Roman numeral notation – I represents the tonic
Twelve-bar_blues
Major chord in music theory
functions as a type of subdominant (IV). In such circumstances, the Neapolitan sixth is a chromatic alteration of the subdominant, and it has an immediately
Neapolitan_chord
Minor key and scale based on the note G
are: Tonic – G minor Supertonic – A diminished Mediant – B-flat major Subdominant – C minor Dominant – D minor Submediant – E-flat major Subtonic – F major
G_minor
System of music analysis
with common practice harmony, the three axes are categorised as tonic, subdominant, and dominant. Tones related to each other by the interval of a tritone
Axis_system
Minor key and scale based on the note D
minor are: Tonic – D minor Supertonic – E diminished Mediant – F major Subdominant – G minor Dominant – A minor Submediant – B-flat major Subtonic – C major
D_minor
Type of musical chord
tends to rely heavily on the primary triads: triads built on the tonic, subdominant, and dominant degrees. The roots of these triads begin on the first,
Primary_triad
Major scale based on C
C major are: Tonic – C major Supertonic – D minor Mediant – E minor Subdominant – F major Dominant – G major Submediant – A minor Leading-tone – B diminished
C_major
parallel, dominant, or subdominant key of the musical work's main key, but also in any variation or combination of them; the subdominant of the relative major
Slow_movement_(music)
Musical interval of ten diatonic steps
degrees in a diatonic scale, the eleventh degree is the same as the subdominant (IV). An eleventh chord is the stacking of five thirds in the span of
Eleventh_(interval)
Major key and scale based on the note D
major are: Tonic – D major Supertonic – E minor Mediant – F-sharp minor Subdominant – G major Dominant – A major Submediant – B minor Leading-tone – C-sharp
D_major
Song built around three chords played in a certain sequence
roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would
Three-chord_song
Warm-blooded animals with wings and feathers
migrations, where only a fraction of the population, usually females and subdominant males, migrates. Partial migration can form a large percentage of the
Bird
Beethoven's use of C minor
to have a slow movement in a contrasting major key, nearly always the subdominant of C minor's relative key (E♭ major): A♭ major, providing "a comfortingly
Beethoven_and_C_minor
Repeated refrain in music
mixture, common tones between adjacent triads (B between G & B, C and G between C+ & C−), and an emphasis on subdominant harmony (IV = C in G major).
Riff
Minor scale based on B-flat
Tonic – B-flat minor Supertonic – C diminished Mediant – D-flat major Subdominant – E-flat minor Dominant – F minor Submediant – G-flat major Subtonic
B-flat_minor
Music scale based on B-flat
B♭ major are: Tonic – B♭ major Supertonic – C minor Mediant – D minor Subdominant – E♭ major Dominant – F major Submediant – G minor Leading-tone – A diminished
B-flat_major
Minor scale based on C
are: Tonic – C minor Supertonic – D diminished Mediant – E-flat major Subdominant – F minor Dominant – G minor Submediant – A-flat major Subtonic – B-flat
C_minor
symphonies observed in Mozart's No. 25 and No. 40 was the choice of the subdominant of the relative key (B♭ major), E♭ major, for the slow movement; other
Mozart_and_G_minor
Species of flowering plant in the family Burseraceae
prevalent in the Petenes mangroves ecoregion of the Yucatán, where it is a subdominant plant species to the mangroves. In the United States, specimens may be
Bursera_simaruba
Musical keys sharing many common tones
(supertonic, the relative minor of the subdominant) iii (mediant, the relative minor of the dominant) IV (subdominant): one less sharp (or one more flat)
Closely_related_key
or targeted to a lower degree during an immune response are known as subdominant epitopes. The impact of immunodominance is immunodomination, where immunodominant
Immunodominance
Minor scale based on B
are: Tonic – B minor Supertonic – C-sharp diminished Mediant – D major Subdominant – E minor Dominant – F-sharp minor Submediant – G major Subtonic – A
B_minor
Use of Roman Numeral symbols in the musical analysis of chords
example, the ubiquitous twelve-bar blues progression uses the tonic (I), subdominant (IV), and dominant (V) chords built upon the first, fourth and fifth
Roman_numeral_analysis
Musical scale
Tonic – F-sharp minor Supertonic – G-sharp diminished Mediant – A major Subdominant – B minor Dominant – C-sharp minor Submediant – D major Subtonic – E
F-sharp_minor
Minor scale based on E
are: Tonic – E minor Supertonic – F-sharp diminished Mediant – G major Subdominant – A minor Dominant – B minor Submediant – C major Subtonic – D major
E_minor
End of a musical phrase with resolution
sospesa demi-cadence Halbschluss I, II, IV or VI → V (tonic, supertonic, subdominant or submediant to dominant) plagal cadence plagal cadence cadencia plagal
Cadence
Musical scale commonly used in Japan
essentially a natural minor scale in Western music theory without the subdominant and subtonic, the same operation performed on the major scale to produce
Japanese_mode
Musical chord progression genre
represents one measure (or "bar"), "I" represents the tonic chord, "IV" the subdominant chord, and "V" the dominant chord. Twelve-bar progressions are formed
Sixteen-bar_blues
1788 composition by W. A. Mozart
modulates through several keys. The recapitulation begins, unusually, in the subdominant key of F major. The Alberti bass that began as a C major triad at this
Piano_Sonata_No._16_(Mozart)
Musical cadence
theory, a plagal cadence is a type of harmonic cadence in which the subdominant chord moves directly to the tonic chord. It is also sometimes called
Plagal_cadence
Major scale based on E-flat
E♭ major are: Tonic – E♭ major Supertonic – F minor Mediant – G minor Subdominant – A♭ major Dominant – B♭ major Submediant – C minor Leading tone – D
E-flat_major
Musical chord
dominant, leading note, and supertonic resolve to the tonic, whereas the subdominant resolves to the mediant. In the other resolutions, the dominant remains
Dominant_seventh_chord
Major key and scale based on the note F
F major are: Tonic – F major Supertonic – G minor Mediant – A minor Subdominant – B-flat major Dominant – C major Submediant – D minor Leading-tone –
F_major
Topics referred to by the same term
world Sensei's Library, an Internet site dedicated to the game of Go Subdominant leittonwechselklänge Leicaflex SL, a mechanical reflex camera Leica SL
SL
Motif or phrase repeated throughout a piece of music
simply cannot be defined as a progression from tonic to subdominant to dominant and back to subdominant (on which it ends) because in the performer's appreciation
Ostinato
Key signature
Tonic – G-sharp minor Supertonic – A-sharp diminished Mediant – B major Subdominant – C-sharp minor Dominant – D-sharp minor Submediant – E major Subtonic
G-sharp_minor
Musical scale and key signature
Tonic – C-sharp major Supertonic – D-sharp minor Mediant – E-sharp minor Subdominant – F-sharp major Dominant – G-sharp major Submediant – A-sharp minor Leading-tone
C-sharp_major
Triad of scale patterns in music theory
different from the major scale. The tonic chord (A–C–E) is minor, as are the subdominant (D–F–A) and dominant chords (E–G–B). The absence of the leading tone
Minor_scale
Major key and scale based on the note A
major are: Tonic – A major Supertonic – B minor Mediant – C-sharp minor Subdominant – D major Dominant – E major Submediant – F-sharp minor Leading-tone
A_major
Music style of ragtime composition
original key rather than use the subdominant key. The D strain may return to the original key rather than stay in the subdominant key. The D strain may be omitted
Classic_rag
Section in some classical musical works
it introduces an allusion to the subdominant or to the related "flat" keys. The significance of the use of subdominant or similar harmony is related to
Secondary_development
Major key signature
Tonic – G-sharp major Supertonic – A-sharp minor Mediant – B-sharp minor Subdominant – C-sharp major Dominant – D-sharp major Submediant – E-sharp minor Leading-tone
G-sharp_major
Major scale based on F-sharp
Tonic – F-sharp major Supertonic – G-sharp minor Mediant – A-sharp minor Subdominant – B major Dominant – C-sharp major Submediant – D-sharp minor Leading
F-sharp_major
Major scale based on A-flat
are: Tonic – A-flat major Supertonic – B-flat minor Mediant – C minor Subdominant – D-flat major Dominant – E-flat major Submediant – F minor Leading-tone
A-flat_major
Type of chord in music theory
has three functions in contemporary harmony: predominant (also called "subdominant"), diminished,[further explanation needed] and dominant function. The
Half-diminished_seventh_chord
Musical concepts
(a half step). Also, since all chords are analyzed as having a tonic, subdominant, or dominant function, with, for instance, in C, A minor being considered
Major_and_minor
1804 composition for solo piano by Ludwig van Beethoven
Andante favori ("favored Andante"). The Andante favori is in F major (the subdominant of the Waldstein key), in 3 8 time, and is marked Andante grazioso con
Andante_favori
Contrapuntal musical form based on a subject that recurs in imitation
the subject transposed to another key (almost always the dominant or subdominant, with the latter being less common), which is known as the answer. To
Fugue
Type of musical chord
scale, it is on the tonic, subdominant, and dominant degrees (, , and ). In a harmonic minor scale, it is only on the subdominant degree (). In an ascending
Minor_seventh_chord
Major scale based on G-flat
Tonic – G-flat major Supertonic – A-flat minor Mediant – B-flat minor Subdominant – C-flat major Dominant – D-flat major Submediant – E-flat minor Leading
G-flat_major
Chord progression
conflict in the tonal acceptation.) Thus, the "iv" corresponds to a subdominant chord, while "♭III" is the mediant and "I" is the tonic. The "♭II" chord
Andalusian_cadence
Succession of musical chords
the tonic chord (in Roman numeral analysis, symbolized by "I"), the subdominant chord (IV), and the dominant chord, (V), respectively. These three triads
Chord_progression
Minor key and scale based on C-sharp
Tonic – C-sharp minor Supertonic – D-sharp diminished Mediant – E major Subdominant – F-sharp minor Dominant – G-sharp minor Submediant – A major Subtonic
C-sharp_minor
Piano sonata written by Beethoven
the recapitulation (m. 137), and during the coda (transposed into the subdominant A♭ (m. 220), and then at its original pitch (m. 237)). The modulatory
Piano Sonata No. 18 (Beethoven)
Piano_Sonata_No._18_(Beethoven)
Species of flowering plant in the amaranth family Amaranthaceae
is represented by the Petenes mangroves of the Yucatán, where it is a subdominant plant associate in the mangroves. This plant is gaining scientific attention
Salicornia_bigelovii
Minor scale based on E-flat
Tonic – E-flat minor Supertonic – F diminished Mediant – G-flat major Subdominant – A-flat minor Dominant – B-flat minor Submediant – B major or C-flat
E-flat_minor
diatonic major scale, while the latter is used for grand style songs in the subdominant mode. Okell, John (1971). "The Burmese Double-Reed "Nhai"". Asian Music
Hne
Type of DJ mix
the same key, if their keys are relative, or if their keys are in a subdominant or dominant relationship with one another. The Camelot wheel is based
Harmonic_mixing
Major scale based on B
are: Tonic – B major Supertonic – C-sharp minor Mediant – D-sharp minor Subdominant – E major Dominant – F-sharp major Submediant – G-sharp minor Leading-tone
B_major
Work by Ludwig van Beethoven
would be E♭ major (the relative key), A♭ major (the submediant major or subdominant parallel) or C major (the tonic major or parallel key). The movement
Piano Concerto No. 3 (Beethoven)
Piano_Concerto_No._3_(Beethoven)
Cadential Pattern
found in rock and roll. The cadence moves from the tonic to dominant, to subdominant, and back to the tonic. "In a blues in A, the turnaround will consist
V–IV–I_turnaround
1787 composition by W. A. Mozart
Compositorial comedic devices include: secondary dominants replacing necessary subdominant chords; dissonance in the horns; parallel fifths whole-tone scales in
A_Musical_Joke
Musical scale
odd overtones. The basic chord structure is 3:5:7. Just as the tonic, subdominant, and dominant chords can be used to derive a major scale, the BP system
Bohlen–Pierce_scale
Congolese rumba instrumental section
more balanced, with the back-and-forth between the dominant (V) and subdominant (IV). Le 3 temps (three beats): Based on the I–V–IV–V progression, is
Sebene
Major scale based on D-flat
are: Tonic – D-flat major Supertonic – E-flat minor Mediant – F minor Subdominant – G-flat major Dominant – A-flat major Submediant – B-flat minor Leading-tone
D-flat_major
Minor scale based on A-sharp
A-sharp minor Supertonic – B-sharp diminished Mediant – C-sharp major Subdominant – D-sharp minor Dominant – E-sharp minor Submediant – F-sharp major Subtonic
A-sharp_minor
Tonal degree of the diatonic scale
the supertonic. In Riemannian theory, the supertonic is considered the subdominant parallel: Sp/T in major though sP/T in minor (A♭M). Benward & Saker (2003)
Supertonic
Piano quintet by Franz Schubert
modulates in ascending half tones. The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme
Trout_Quintet
Musical mode
half, whole, whole, half, whole In the Mixolydian mode, the tonic, subdominant, and subtonic triads are all major, the mediant is diminished, and the
Mixolydian_mode
Minor scale based on D-sharp
D-sharp minor Supertonic – E-sharp diminished Mediant – F-sharp major Subdominant – G-sharp minor Dominant – A-sharp minor Submediant – B major Subtonic
D-sharp_minor
1894 composition by Anton Arensky
cheerful scherzo comes the contrasting and sad slow movement in the subdominant minor. Presenting no formal grief but memorial thoughts, this movement
Piano_Trio_No._1_(Arensky)
Taxonomic group of semi-aquatic mammals
claim to both territories and individual pre-estrus females. Younger or subdominant male pinnipeds may attempt to achieve reproductive success in other ways
Pinniped
Tonal degree of the diatonic scale
classical harmony, compared with, say, modulation to the dominant V or the subdominant IV in major. It becomes more common in late Haydn and Mozart and normal
Mediant
Developmental approach to music education
as opposed to I-II-IV-III-V. Volume III introduces Major Dominant and Subdominant triads (That is to say: functional harmony). However Volume IV can be
Orff_Schulwerk
1992 single
between adjacent triads (B between G & B, C and G between C & Cm, see: chord letters), and an emphasis on subdominant harmony (IV = C in G major).Play
Creep_(Radiohead_song)
Topics referred to by the same term
military organization Italia Viva, an Italian centrist political party Subdominant, in music theory IV (The Aggrolites album), 2009 IV (Angband album),
IV
Piano pieces composed by Frédéric Chopin
traditional harmonic progressions (giving it a peculiar sound). There are no subdominant (IV) or submediant (VI) chords in the entire movement. Most of the movement
Mazurkas,_Op._17_(Chopin)
Musical scale comprising seven notes
scale degrees are named: 1st: Tonic 2nd: Supertonic 3rd: Mediant 4th: Subdominant 5th: Dominant 6th: Submediant 7th: Leading tone 8th: Tonic The triads
Major_scale
1963 single by Gene Pitney
start of the chorus, an interruption of the expected cadence by the subdominant chord (C major) establishes this as the new tonic, with the remainder
Twenty_Four_Hours_from_Tulsa
Minor scale based on A-flat
– A-flat minor Supertonic – B-flat diminished Mediant – C-flat major Subdominant – D-flat minor Dominant – E-flat minor Submediant – F-flat major Subtonic
A-flat_minor
SUBDOMINANT
SUBDOMINANT
SUBDOMINANT
SUBDOMINANT
Male
Egyptian
, the Inundation.
Girl/Female
Muslim
Garden in paradise
Female
Gypsy/Romani
(ÐадÑ) Pet form of Russian Nadezhda, NADYA means "hope." In use by the Romani. Compare with another form of Nadya.
Female
Persian/Iranian
(پریسا) Persian name PARISA means either "angelic" or "like a fairy."
Boy/Male
Hindu
Fostered by God
Boy/Male
Indian
Boy/Male
Dutch, German, Swedish
Brave; Hard Strength
Girl/Female
Hindu
Rich
Boy/Male
Tamil
Happy
Girl/Female
Arabic, Gujarati, Hindu, Indian, Muslim
Gorgeous
SUBDOMINANT
SUBDOMINANT
SUBDOMINANT
SUBDOMINANT
SUBDOMINANT
n.
The fourth tone above, or fifth below, the tonic; -- so called as being under the dominant.
n.
A family of tones whose regular members are called diatonic tones, and named key tone (or tonic) or one (or eight), mediant or three, dominant or five, subdominant or four, submediant or six, supertonic or two, and subtonic or seven. Chromatic tones are temporary members of a key, under such names as " sharp four," "flat seven," etc. Scales and tunes of every variety are made from the tones of a key.
n.
The interval of two tones and a semitone, embracing four diatonic degrees of the scale; the subdominant of any key.