![]() “super” comes from Latin and means “above” or See the explanation of the other names below: Where do these names come from? We already know the names tonic, subdominant and dominant, after all these are the names of the harmonic functions. Within a scale, we can give the following nomenclature to degrees: This chord shares two scale degrees with tonic (I) and two scale degrees with subdominant (IV) so it is used most often as a predominant, a transition between tonic and predominant, or as a tonic substitution.Moving on in our study, we will learn some other nomenclatures that are widely used to describe tonal degrees. Just like with the mediant, the submediant is the opposite quality of its home key - minor in major (vi) and major in minor (VI). If the mediant is three above tonic, then the SUBmediant is three below tonic. SUBMEDIANT is the term we use to refer to the sixth scale degree and its accompanying chord (6 - 1 - 3). It is also the least “defined” chord in terms of tonal area out of all the diatonic chords and can be found comfortably in the tonic, predominant, and dominant areas. Because it carries the opposite quality of the home key and two of its pitches are found in the tonic chord (3 and 5) with the final pitch the leading tone (7), it creates for some interesting potential in its harmonic placement. In a major scale, this chord is minor (iii), in a minor scale, this chord is major (III). To help you remember, consider how “mediant” starts with the syllable “mi” (as in the third scale degree in solfege). ![]() MEDIANT is a fancy word for the note and the chord built off the third scale degree (3 - 5 - 7). This is a supplement to The Complete Musician Chapter 13: The Submediant (A New Diatonic Harmony, and Further Extensions of the Phrase Model), and Chapter 14: The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships
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