submediant

No route-maps here ("OMG, have we missed the transition into the relative submediant minor?"), distracting from the landscape, but relevant settings of context and personalities, and full of pithy insights.

It is organized in a typical ABA' form, but composed in the very untypical key of the submediant (A major).

He then passes smoothly from F major to its flat submediant D[flat] major at the end of Song XII (Figure 3).

The melodic structure is built on four notes (tonic, supertonic and submediant) in order to reflex the tone of the language.

In the wake of Everett's essay, such a declaration requires more comparative study, while Whiteley's writing too is occasionally under-theorized, such as where she equates submediant bridge beginnings with the quality of being "stuck" (64).

The second triad of the section, in the second half of bar 10, is the pivotal E[flat], which is the subdominant in B[flat] Major, but submediant in g minor (as was the case with the second half of bar 6)--another play between major and minor tonalities.

Each system consists of tonic, dominant, subdominant, mediant, and submediant triads.

However, he fails to point out that subdominant and submediant recapitulations are not unknown in Viennese sonata forms, and these later served as models for Schubert's recapitulations in a key other than the tonic.

104, we then modulate from A minor into the minor submediant key of F minor.

Mozart frequently moves out of the submediant's grasp through a descending circle-of-fifths sequence, a commonplace harmonic progression that "has the effect of divorcing time's progress from human effort-it seems to run by itself, apart from, and regardless of, our interventions.

Each line or half-line (except the last half of line 4) begins by establishing the pedal B as tonic or as G[sharp] submediant, sometimes through chord progressions hinting at functional harmony, sometimes by surrounding B and G[sharp] with consonant intervals, in addition to contextual means (repeating B or G[sharp] or placing them on the downbeat, for example).

This is the first real major triadic sonority in the entire underscore, and it recalls Beethoven's dramatic shift to the flat submediant in the 'Ode to Joy' at 'vor Gott', resonating with Hans's priestly demeanour.