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 dominant is above the tonic – in other words, the tonic is the dominant of the subdominant.[1][2][3] It also happens to be the note one step below the dominant.[4] In the movable do solfège system, the subdominant note is sung as fa.
The scale and subdominant triad in C major (top) and C minor (bottom).
The triad built on the subdominant note is called the subdominant chord. In Roman numeral analysis, the subdominant chord is typically symbolized by the Roman numeral "IV" in a major key, indicating that the chord is a major triad. In a minor key, it is symbolized by "iv", indicating that the chord is a minor triad.
In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these.
These chords may also appear as seventh chords: in major, as IVM7, or in minor as iv7 or sometimes IV7:[6]
A cadential subdominant chord followed by a tonic chord produces the so-called plagal cadence.
As with other chords which often precede the dominant, subdominant chords typically have predominant function. In Riemannian theory, it is considered to balance the dominant around the tonic (being as far below the tonic as the dominant is above).
The term subdominant may also refer to a relationship of musical keys. For example, relative to the key of C major, the key of F major is the subdominant. Music which modulates (changes key) often modulates to the subdominant when the leading tone is lowered by half step to the subtonic (B to B♭ in the key of C). Modulation to the subdominant key often creates a sense of musical relaxation, as opposed to modulation to the dominant (fifth note of the scale), which increases tension.
References
^Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p. 22. Trans. John Rothgeb. ISBN0-582-28227-6. "subdominant [literally, lower dominant]" emphasis original.
^Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p. 33. Seventh Edition. ISBN978-0-07-294262-0. "The lower dominant."
^Forte, Allen (1979). Tonal Harmony, p. 9. 3rd edition. Holt, Rinehart, and Wilson. ISBN0-03-020756-8. "The triad on IV is called the subdominant because it occupies a position below the tonic triad analogous to that occupied by the dominant above.
subdominant, music, subdominant, fourth, tonal, degree, diatonic, scale, called, because, same, distance, below, tonic, dominant, above, tonic, other, words, tonic, dominant, subdominant, also, happens, note, step, below, dominant, movable, solfège, system, su. 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 dominant is above the tonic in other words the tonic is the dominant of the subdominant 1 2 3 It also happens to be the note one step below the dominant 4 In the movable do solfege system the subdominant note is sung as fa source Audio playback is not supported in your browser You can download the audio file source Audio playback is not supported in your browser You can download the audio file The scale and subdominant triad in C major top and C minor bottom The triad built on the subdominant note is called the subdominant chord In Roman numeral analysis the subdominant chord is typically symbolized by the Roman numeral IV in a major key indicating that the chord is a major triad In a minor key it is symbolized by iv indicating that the chord is a minor triad In very much conventionally tonal music harmonic analysis will reveal a broad prevalence of the primary often triadic harmonies tonic dominant and subdominant i e I and its chief auxiliaries a 5th removed and especially the first two of these Berry 1976 5 These chords may also appear as seventh chords in major as IVM7 or in minor as iv7 or sometimes IV7 6 A cadential subdominant chord followed by a tonic chord produces the so called plagal cadence As with other chords which often precede the dominant subdominant chords typically have predominant function In Riemannian theory it is considered to balance the dominant around the tonic being as far below the tonic as the dominant is above The term subdominant may also refer to a relationship of musical keys For example relative to the key of C major the key of F major is the subdominant Music which modulates changes key often modulates to the subdominant when the leading tone is lowered by half step to the subtonic B to B in the key of C Modulation to the subdominant key often creates a sense of musical relaxation as opposed to modulation to the dominant fifth note of the scale which increases tension References Edit Jonas Oswald 1982 Introduction to the Theory of Heinrich Schenker 1934 Das Wesen des musikalischen Kunstwerks Eine Einfuhrung in Die Lehre Heinrich Schenkers p 22 Trans John Rothgeb ISBN 0 582 28227 6 subdominant literally lower dominant emphasis original Benward amp Saker 2003 Music In Theory and Practice Vol I p 33 Seventh Edition ISBN 978 0 07 294262 0 The lower dominant Forte Allen 1979 Tonal Harmony p 9 3rd edition Holt Rinehart and Wilson ISBN 0 03 020756 8 The triad on IV is called the subdominant because it occupies a position below the tonic triad analogous to that occupied by the dominant above Subdominant Dictionary com Berry Wallace 1976 1987 Structural Functions in Music p 62 ISBN 0 486 25384 8 Kostka Stefan Payne Dorothy 2004 Tonal Harmony 5th ed Boston McGraw Hill p 229 ISBN 0072852607 OCLC 51613969 External links Edit Media related to Subdominant at Wikimedia Commons Retrieved from https en wikipedia org w index php title Subdominant amp oldid 1094658438, wikipedia, wiki, book, books, library,
