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{ \override Score.TimeSignature #'stencil = ##f \relative a { \clef treble \time 7/4 a4 b cis d e \once \override NoteHead.color = #red fis gis \time 2/4 a2 \bar "||" \time 4/4 <fis a cis>1 \bar "||" } }
{ \override Score.TimeSignature #'stencil = ##f \relative a { \clef treble \time 7/4 a4 b c d e \once \override NoteHead.color = #red f g \time 2/4 a2 \bar "||" \time 4/4 <f a c>1 \bar "||" } }
The scale and submediant triad in the A major (top) and A 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, le or lo in do-based minor and fa in la-based minor. 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 (relative major) in a minor key.

Chord

[edit]

Amongst the primary roles played by the submediant chord is that in the deceptive cadence, V(7)–vi in major or V(7)–VI in minor.[4][5] In a submediant chord, the third may be doubled.[6]

\new PianoStaff << \new Staff << \new Voice \relative c'' { \stemUp \clef treble \key c \major \time 4/4 b1 c } \new Voice \relative c'' { \stemDown g1 e } >> \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \major \time 4/4 d1 c } \new Voice \relative c' { \stemDown g1 a \bar "||" } >> >>
{ \override Score.TimeSignature #'stencil = ##f \relative c { \clef bass \time 4/4 <c e a>1_\markup { \concat { \translate #'(-4 . 0) { "C: vi" \raise #1 \small "6" \hspace #6.5 "ii" \hspace #5 "V" \raise #1 \small "6" \hspace #6.5 "I" } } } <d f a> <b d g> <c e g> \bar "|." } }
A vi–ii–V–I chord progression in C[7]

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 dominant, vi–ii–V. 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 secondary dominants.[7] This submediant role is as common in popular and classical music as it is in jazz, 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 Charlie Parker's "Blues for Alice". In minor, the progression from VI to ii° (e.g. A♭ to D diminished in C minor) involves a diminished fifth, 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 circle of 5ths 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.

Wagner – Tannhäuser, "Zu dir wall' ich":[7] I–vi–IV–ii–V progression

Another frequent progression is the sequence of descending thirds (I–vi–IV–ii–|–V in root position or first inversion), alternating major and minor chords.[7] This progression is also frequent in jazz, where it is used in a shortened version ||: I vi | ii V7 :|| in what is nicknamed the "I Got Rhythm" progression by George Gershwin. This chord progression moves from tonic I, to the submediant (vi), to the supertonic ii, to the dominant V7.

Chromatic submediants, like chromatic mediants, are chords whose roots are related by a major third or minor third, contain one common tone, and share the same quality, i.e. major or minor. They may be altered chords.

Submediant chords may also appear as seventh chords: in major, as vi7, or in minor as VIM7 or ♯viø7:[8]

{ \override Score.TimeSignature #'stencil = ##f \relative c'' { \clef treble \time 4/4 \key c \major <a c e g>1_\markup { \concat { "vi" \raise #1 \small "7" } } \bar "||" \clef treble \time 4/4 \key c \minor <aes c es g>1_\markup { \concat { "VI" \raise #1 \small "M7" } } <a c es g>_\markup { \concat { "♯vi" \raise #1 \small "ø7" } } \bar "||" } }

In rock and popular music, VI in minor often uses the chromatically lowered fifth scale degree as its seventh, VI7, for example as in Bob Marley's clearly minor mode "I Shot The Sheriff".[9]

Name

[edit]

The term mediant appeared in English in 1753 to refer to the note "midway between the tonic and the dominant".[10] The term submediant must have appeared soon after to similarly denote the note midway between the tonic and the subdominant.[11] The German word Untermediante is found in 1771.[12] In France, on the other hand, the sixth degree of the scale was more often called the sus-dominante, as the degree above the dominant. This reflects a different conception of the diatonic scale and its degrees:[13]

  • In English as in German, the tonic is flanked on both sides by subtonic / supertonic, submediant / mediant and dominant / subdominant – the 7th degree being more usually known as the leading tone (or leading note) if it is a semitone under the tonic. (See the figure in Degree (music)#Major and minor scales);
  • In French and Italian, a conception with two centres, subtonic (sous-tonique, sotto-tonica) and supertonic (sustonique, sopra-tonica) on both sides of the tonic, subdominant (sous-dominante, sotto-dominante) and "superdominant" (sus-dominante, sopra-dominante) on both sides of the dominant – and the mediant left alone between the two.

In the German theory derived from Hugo Riemann, the minor submediant in a major key is considered the Tonikaparallele (minor relative of the major tonic), labeled Tp, and the major submediant in a minor key is the Subdominantparallele (major relative of the minor subdominant), labeled sP.

See also

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References

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Submediant

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In music theory, the submediant is the sixth scale degree of a diatonic scale, positioned midway between the upper tonic and the subdominant, and it also denotes the triad built on that degree.[1][2] In a major key, the submediant chord is a minor triad (Roman numeral vi), comprising the sixth, root (tonic), and third scale degrees, such as A-C-E in C major, which functions as the tonic chord of the relative minor key.[3][4] Conversely, in a minor key, the submediant chord is a major triad (Roman numeral VI), serving as the subdominant of the relative major key, for example, F-A-C in A minor.[3][4] The submediant chord typically acts as a weak predominant in harmonic progressions, often bridging the tonic to stronger pre-dominants like IV or ii, thereby building subtle tension toward the dominant.[4] It frequently appears in deceptive cadences, where the expected resolution from V to I instead lands on vi, creating an element of surprise and emotional depth, as heard in countless classical and popular compositions.[4][5] Additionally, the submediant can prolong the tonic function when substituting for I, due to their shared scale degrees, or facilitate smooth modulations to relative keys, enhancing tonal variety without abrupt shifts.[4][6] In analysis, its Roman numeral notation—lowercase vi for major keys and uppercase VI for minor—distinguishes its quality and underscores its relational role in diatonic harmony.[3]

Definition and Scale Position

Scale Degree

The submediant is the sixth scale degree in the diatonic scale, positioned between the dominant (fifth degree) and the leading tone (seventh degree).[2] In the key of C major, with no sharps or flats in its key signature, the submediant is A natural, forming the ascending scale as C–D–E–F–G–A–B–C.[7] This degree creates a major sixth interval above the tonic or, equivalently, a major third below the tonic's octave displacement.[7] It also lies a minor third above the subdominant (fourth degree); for instance, in C major, the subdominant F ascends a minor third to the submediant A.[2] In solfège notation, the submediant is sung as la in major keys.[8] In natural minor keys, it is le, reflecting the lowered sixth degree relative to the parallel major; for example, in A minor (sharing C major's key signature of no sharps or flats), the ascending scale is A–B–C–D–E–F–G–A, with F as the submediant (le).[9] The submediant thus contrasts positionally with the mediant, the third scale degree located a minor third above the tonic.[7]

Relation to Other Degrees

The submediant, as the sixth scale degree, occupies a central position in the diatonic scale, situated halfway between the subdominant (degree 4) and the upper tonic (degree 8) when considering the linear arrangement of the scale extending to the upper octave. This intermediary placement justifies its nomenclature, positioning it equidistant in terms of scale steps from the subdominant below and the upper tonic above, thus bridging the lower and upper halves of the octave.[1][10] In relation to other degrees, the submediant mirrors the mediant (degree 3) through scale symmetry: just as the mediant lies a major third above the tonic, the submediant lies a major third below the upper tonic, creating a balanced reflection around the octave's central axis. This symmetry highlights the submediant's role in the overall proportional structure of the diatonic scale. Compared to the supertonic (degree 2), which serves as the immediate upper neighbor to the tonic, the submediant functions analogously as an upper neighbor within the upper tetrachord, adjacent above the dominant (degree 5). Similarly, while the leading tone (degree 7) provides an upper approach to the tonic from below in the upper tetrachord, the submediant offers a parallel relational approach in its proximity to surrounding degrees, emphasizing stepwise connections in scalar motion.[6][11] To illustrate these relationships, consider a basic diatonic scale diagram in C major, where the submediant (A) acts as a pivot between the lower tetrachord (C-D-E-F) and the upper tetrachord (G-A-B-C):
DegreeNoteNameRelation to Submediant
1CTonicFive steps below
2DSupertonicFour steps below
3EMediantMirrors submediant symmetrically
4FSubdominantTwo steps below
5GDominantStepwise lower neighbor
6ASubmediantCentral pivot
7BLeading ToneStepwise upper neighbor
8CUpper TonicTwo steps above
This tabular representation underscores the submediant's intermediary status, facilitating smooth scalar progression across the octave.[1][12]

Chord Construction

Triad Formation

The submediant triad is constructed by stacking thirds starting from the sixth scale degree of the diatonic scale, with the root on degree 6, the third on degree 1 (an octave above the root), and the fifth on degree 3.[13] This forms a basic three-note chord in root position.[13] In major keys, the submediant triad is a minor triad due to the minor third interval between the root (degree 6) and the third (degree 1). For example, in C major, the scale degrees yield the notes A (root), C (third), and E (fifth), creating the A minor triad.[13] It is denoted in Roman numeral analysis as vi (lowercase indicating minor quality).[13] In minor keys, the submediant triad is a major triad, typically built using the natural minor scale, where the interval from root (degree 6) to third (degree 1) is a major third. For example, in A minor, the notes are F (root), A (third), and C (fifth), forming the F major triad.[4] It is denoted as VI (uppercase indicating major quality).[4] A basic close-position voicing places the root in the bass, with the third and fifth immediately above it in the closest possible stacking. In C major (vi: A-C-E), this appears as: 
Bass: A (root)
Middle: C (third)
Treble: E (fifth)
On a keyboard, this might correspond to A3, C4, and E4 for a compact voicing within one octave.[13] In A minor (VI: F-A-C), the close voicing is F3, A3, and C4.[4]

Seventh Chords

The submediant seventh chord extends the submediant triad by adding a note a seventh above the root, using the diatonic scale degrees. In major keys, this produces the vi7 chord, built on the sixth scale degree with a minor triad plus a minor seventh, resulting in the intervals of a minor third, perfect fifth, and minor seventh from the root. For instance, in C major, the vi7 chord comprises the notes A–C–E–G, forming a minor seventh chord quality.[14][15] In minor keys, the submediant seventh chord is notated as VI7 and features a major triad with a major seventh (scale degrees 6, 1, 3, 5), yielding a major seventh chord quality. In A minor (natural minor), for example, VI7 consists of F–A–C–E.[16] Common voicings for the submediant seventh emphasize smooth voice leading and balance. In root position for vi7 in C major, a close voicing might stack as A (bass)–C–E–G, providing a compact minor seventh sonority. The first inversion, denoted vi6/5, places the third (C) in the bass, often voiced as C–E–G–A to facilitate connections in progressions; a sample spacing could feature A over C bass in an open voicing for added resonance, such as C (bass)–E–G–A. Second inversion (vi4/3) uses the fifth (E) in the bass, like E–G–A–C, while third inversion (vi4/2) has the seventh (G) in the bass, as in G–A–C–E. Similar inversion principles apply to VI7, with root-position F–A–C–E in A minor, and first inversion VI6/5 voiced as A–C–E–F.[14][15] The vi7 in major keys differs from other diatonic seventh chords, such as the ii7, which shares the half-diminished quality misconception but actually features a diminished fifth; for example, ii7 in C major is D–F–A–C (minor third, diminished fifth, minor seventh), contrasting the vi7's perfect fifth that lends a more stable, less tense character.[14][15]

Harmonic Function

In Major Keys

In major keys, the submediant chord, roman numeral vi, functions as a weak pre-dominant, typically extending the tonic area or transitioning to stronger pre-dominants like IV or ii by sharing scale degrees that facilitate smooth voice leading.[4] This role arises from its minor quality, which contrasts with the surrounding major harmonies while avoiding strong resolution tendencies.[4] The vi chord commonly resolves to IV or ii, forming descending-third sequences such as I–vi–IV–ii, or it may lead indirectly to V through these intermediaries; direct motion from vi to V is possible but requires careful contrary motion to avoid parallel fifths.[4] In deceptive cadences, vi substitutes for the tonic after V, evading the expected authentic resolution (V–I) and surprising the listener through common tones like the tonic and third scale degrees.[17][4] As the tonic chord of the relative minor key, vi embodies a modal shift within the same key signature; for example, in C major, the vi chord (A–C–E) serves as the i chord in A minor, enabling subtle tonal ambiguity without introducing accidentals.[18] Representative progressions highlight vi's versatility, such as the canonical I–vi–IV–V cycle, which circulates through tonic, submediant, subdominant, and dominant functions to create cyclical harmonic drive, as in countless hymns and popular songs (e.g., in C major: C–Am–F–G).[19] Another example is the descending-fifths chain vi–ii–V–I, where vi initiates pre-dominant motion toward resolution, often doubled on the root for stability.[4]
KeyProgressionRoman NumeralsNotes
C majorC – Am – F – GI – vi – IV – VBalances stability (I, IV) with tension (vi, V); vi adds plaintive color.
G majorG – Em – C – DI – vi – IV – Vvi (Em) prolongs tonic before subdominant arrival.

In Minor Keys

In minor keys, the submediant chord, denoted as VI, primarily functions as a weak pre-dominant harmony, facilitating smooth transitions to stronger pre-dominants like the subdominant iv or the half-diminished supertonic ii° before resolving to the dominant V. This role contrasts with its more tonic-like or mediant functions in other contexts, emphasizing its contribution to building tension within minor key progressions such as i–VI–iv–V or i–VI–ii°–V.[4] The VI chord is constructed as a major triad on the sixth scale degree of the harmonic minor scale, comprising the root on degree 6, a major third above it (to degree 1), and a perfect fifth above the root. For instance, in A minor, it consists of the pitches F–A–C, where the major quality stems from the major third interval between F and A inherent to the minor scale structure. This diatonic major triad in minor keys stands in contrast to the minor vi submediant in major keys, highlighting a key difference in chord quality across modes; while the Aeolian (natural minor) mode features this major VI natively, the Ionian (major) mode employs a minor vi.[3][4] Typical resolutions include progression from V to VI in a deceptive cadence, where it temporarily substitutes for the tonic i, or direct movement from VI to i for closure, as well as serving as a pivot chord—such as functioning as I in the key of the submediant—for modulations, including to the relative major or other related keys like the mediant III.[4][3]

Usage in Music

Common Progressions

The submediant chord frequently appears in the I–vi–ii–V progression, a staple cycle in both jazz and popular music that creates smooth descending root motion by fifths and thirds, often serving as a turnaround to return to the tonic. In this sequence, the vi chord acts as a transitional pre-dominant, linking the tonic (I) to the supertonic (ii) and facilitating resolution to the dominant (V) before cycling back to I; for example, in C major, this unfolds as C–Am–Dm–G. Variations extend this cycle, such as incorporating dominant seventh chords (I7–vi7–ii7–V7) for added tension in jazz standards, or shortening it to vi–ii–V–I in ballads for emotional depth, as seen in mid-20th-century pop arrangements.[20][21] A prominent use of the submediant occurs in deceptive cadences, where the dominant (V) resolves unexpectedly to vi instead of the tonic (I), subverting the anticipated closure and providing harmonic surprise while maintaining stepwise voice leading. This V–vi progression, common since the Baroque era, treats vi as a tonic substitute due to shared tones (the third and fifth of I become the root and third of vi), often followed by a subsequent authentic cadence for resolution; in C major, G resolves to Am, with the leading tone ascending to the root of vi. In minor keys, V–VI serves a similar function, heightening the deceptive effect.[22][23] The submediant also features in plagal-like progressions such as IV–vi–I, which emphasize smooth ascending bass motion by step or third, creating a gentle, resolving quality akin to a traditional plagal cadence but with vi as a mediator between subdominant and tonic. In C major, F–Am–C moves the bass from F to A to C, using common tones (A and C) for seamless connection and avoiding abrupt shifts; this pattern appears in folk and contemporary styles for its lyrical flow.[4] In standard repertoire like Bach's chorales, the submediant functions as a connector in root-position progressions, often linking tonic to pre-dominants or appearing in deceptive resolutions to diversify phrase endings. These usages underscore the submediant's role in maintaining diatonic coherence without dominant emphasis, as seen in sequences like I–vi–ii–V or V–vi.[24][4]

Modulation and Voice Leading

The submediant chord, denoted as vi in major keys or VI in minor keys, often serves as a pivot chord in modulations due to its shared tones with closely related keys, enabling seamless transitions. In a major key, the vi chord functions as the tonic (i) of the relative minor, allowing reinterpretation without introducing foreign pitches; for instance, in C major, the A minor triad (vi) pivots directly to A minor as its tonic, facilitating a modulation that exploits the complete pitch-class overlap between the keys.[18] Similarly, the submediant can act as the mediant (III) in the subdominant key, providing a common-tone pivot for modulations downward by a fifth; in C major, the vi (A minor) becomes III in F major, supporting smooth voice connections through retained pitches like A and C.[25] Voice leading principles emphasize common-tone retention and economical motion when incorporating the submediant, particularly to maintain contrapuntal independence and avoid parallel intervals. The submediant shares its third and fifth with the tonic triad in major keys (e.g., E and G in C major's vi), permitting these tones to remain stationary while the bass ascends stepwise, fostering fluid connections; for example, from the dominant (V) to vi, the bass moves from G to A by step, with upper voices resolving the leading tone upward and other notes descending by step to complete the triad.[4] Doubling the root of the submediant is preferred in root position to reinforce stability, though the third may be doubled following a deceptive cadence (V–vi) to resolve the leading tone properly, while avoiding leaps greater than a third and parallel fifths or octaves.[26] In minor keys, the submediant (VI, often borrowed as major) supports modulations to closely related keys through pivot reinterpretation, leveraging its pre-dominant leanings for preparatory function. For example, in A minor, the VI (F major) can pivot to the relative major C major as its IV chord, with voice leading guided by stepwise bass descent from the tonic and retention of common tones like A and C for continuity.[18] Advanced techniques, such as chains of suspensions, utilize the submediant within descending-fifth sequences to create fluid modulatory passages; a common pattern progresses through I–IV–vii°7–III–VI–II–V–I, where each suspension (typically 4–3 or 9–8) resolves downward by step across the submediant, enhancing tension release and tonal ambiguity during key shifts.[27]

Etymology and History

Origin of the Name

The term "submediant" derives from the Latin prefix "sub-," meaning "below" or "under," combined with "mediant," which originates from the Latin "medians," the present participle of "mediare," meaning "to be in the middle" or derived from "medius," signifying "middle."[28] This nomenclature reflects the submediant's position as the sixth scale degree, functioning as a lower counterpart to the mediant (the third degree), which lies midway between the tonic and dominant. In contrast, the submediant occupies a medial position between the tonic and subdominant, emphasizing its intermediary role in the diatonic scale structure.[29] The term was coined in the 18th century by French music theorist Jean-Philippe Rameau, who introduced "sous-médiante" in his foundational treatise Traité de l'harmonie (1722), as part of his systematic naming of scale degrees to clarify harmonic relationships. Rameau's terminology contrasted the submediant with the mediant, highlighting their symmetric yet inverted positions relative to the tonic: the mediant a third above and the submediant a third below. This innovation built on earlier modal traditions but adapted them to emerging tonal harmony, where precise functional labels aided composers and theorists in analyzing chord progressions. (Joel Lester, Compositional Theory in the Eighteenth Century, Harvard University Press, 1992, pp. 77-82) Influences from Latin and Greek linguistic roots in music theory terminology underscore the submediant's etymology, with "mediant" drawing directly from classical concepts of centrality in scalar intervals, as seen in Renaissance treatises. Earlier alternatives, such as "superdominant" (noting its position above the dominant), appeared in some 18th- and 19th-century English and German treatises as a functional descriptor emphasizing its proximity to the dominant rather than its medial quality relative to the subdominant.[29] Over time, "submediant" became the standard in Anglo-French theory, supplanting these variants due to its alignment with Rameau's influential system.[30]

Historical Development

In the Baroque era, the submediant (vi) functioned primarily as a diatonic harmony within figured bass practices, often serving as a pre-dominant chord leading to the dominant in cadential progressions, as evidenced in George Frideric Handel's compositions such as the "Hallelujah" chorus from Messiah, where vi chords provide smooth voice leading before V-I resolutions.[31] This usage reflected the era's emphasis on thoroughbass as a framework for harmonic realization, allowing performers flexibility in voicing the submediant to support contrapuntal lines.[32] During the Classical period, the submediant's role expanded in sonata form, particularly for modulatory purposes, with composers like Wolfgang Amadeus Mozart employing it to pivot between keys, as in the first movement of his Piano Sonata in C major, K. 545, where the submediant facilitates the transition from tonic to dominant.[33] This technique contributed to the structural balance and tonal drama characteristic of the period, often appearing in development sections to explore related keys before returning to the tonic.[18] The Romantic era saw the submediant evolve through chromatic alterations, enhancing expressive color and facilitating abrupt modulations; Richard Wagner, for instance, used the chromatic submediant as a substitute in Lohengrin, where an F-major chord acts as a VI in A♭ major to initiate a VI–ii–V–I progression, intensifying dramatic tension.[34] Such borrowed forms, like the VI, drew from earlier diatonic roots but amplified emotional ambiguity, influencing later harmonic innovations.[35] In the 20th century, the submediant retained its diatonic function in modal music, as in Claude Debussy's Prélude à l'après-midi d'un faune, where it supports whole-tone and pentatonic inflections without dominant resolution.[36] In jazz, the minor submediant (vi7) often substituted for the ii7 chord in ii–V–I progressions due to their shared tones and similar pre-dominant function, providing smoother voice leading and richer substitutions, as commonly applied in standards like "Autumn Leaves."[37][38]

References

  1. Scale Degrees - musictheory.net
  2. Scale Degree Names - Music Theory for the 21st-Century Classroom
  3. Chord VI - The Submediant - My Music Theory
  4. [PDF] The Submediant Chord (vi or VI)
  5. Submediant - (AP Music Theory) - Vocab, Definition, Explanations
  6. The Mediant & Submediant - Kaitlin Bove Music
  7. 12. Major Scales, Scale Degrees, and Key Signatures
  8. [PDF] 1 MAJOR AND MINOR SCALES HALF AND WHOLE STEPS
  9. Minor Scales, Scale Degrees, and Key Signatures – Open Music ...
  10. Supertonic, mediant, submediant and leading-tone
  11. What are the Technical Names in Music? & What do They Mean?
  12. Scale Degree Reference Chart for Major & Minor Scale ... - muted.io
  13. Triads – Open Music Theory - VIVA's Pressbooks
  14. Seventh Chords – Open Music Theory - VIVA's Pressbooks
  15. Diatonic Chords You Need To Know (Triads and 7th Chords)
  16. HARMONIC MINOR KEYS - Theory, Charts & Exercises
  17. Diatonic Chords in Minor
  18. Cadences - Music Theory for the 21st-Century Classroom
  19. 28. Modulation – Fundamentals, Function, and Form
  20. Harmonic Function - Music Theory for the 21st-Century Classroom
  21. Standard Chord Progressions
  22. I-VI-II-V Chord Sequence Substitutions | JustinGuitar.com
  23. [PDF] The Harmonic Cadences - Toby Rush
  24. Stepwise Root Motion and Submediant II: Deceptive Cadences - Artusi
  25. Bach Chorale Chord Progressions | PDF - Scribd
  26. Pivot Chords - My Music Theory
  27. Harmonic Sequence with Suspensions - My Music Theory
  28. MEDIANT Definition & Meaning - Merriam-Webster
  29. Music Theory Online - Intervals - Dolmetsch Online
  30. The Rise of 6 in the Nineteenth Century - jstor
  31. 21. Figured Bass – Fundamentals, Function, and Form
  32. Historical Context - Music Theory for the 21st-Century Classroom
  33. Sonata Form Examples - ALevelMusic.com
  34. Form, Drama and Convention (Part II) - Wagner Studies
  35. Elsa, Ortrud, the Grail and the Forbidden Question: Formal Functions ...
  36. Pentatonicism from the Eighteenth Century to Debussy - jstor
  37. Diatonic Chord Substitution - Theory and Harmony Lesson
  38. What's a Chord Substitution? 5 Essential ... - Learn Jazz Standards
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