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Topic: Subdominant chord


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In the News (Sun 21 Jul 19)

  
  Subdominant - Wikipedia, the free encyclopedia
In the C major scale (white keys on a piano), the subdominant is the note F; and the subdominant chord uses the notes F, A, and C. In music theory, the subdominant chord is symbolized with the Roman numeral IV if major and iv if minor.
A cadential subdominant chord followed by a tonic chord (the chord of the key of the piece) produces the so-called "plagal"(or "Amen") cadence.
In sonata form, the subdominant key plays a subordinate though still crucial role: typically, in the recapitulation, there is a section written in the subdominant key, occurring at the point corresponding to the location in the exposition where the music modulated into the dominant key.
en.wikipedia.org /wiki/Subdominant_chord   (260 words)

  
 Chord (music) - free-definition   (Site not responding. Last check: 2007-11-03)
Chords are also said to have a function in their diatonic scale, which relates to the expected resolution of each chord within a key.
The five down a perfect fifth to the I chord and the VII chord up a minor second to the I chord, due to the expected resolution of the tritone, or the highly unstable diminished fifth which is present in a diatonic VII chord.
The II and IV chords have Subdominant Function, partially due to the fact that they are a fifth away from the Dominant chords of a key, and partially because in their own Tonic keys, their respective Dominant chords are built on the root notes of the stable Tonic function I and VI.
www.free-definition.com /Chord-(music).html   (2024 words)

  
 Tonality and Harmony: Chord Types   (Site not responding. Last check: 2007-11-03)
An extended tertian chord, however, is often built on scale degree 5 to function as a dominant; 9th and 11th chords may be built on scale degree 2 and serve as a subdominant chord.
Pre-Dominant Chords: are chords that precede the dominant (or sometimes the tonic six-four and then the dominant) in a cadence.
Borrowed chords are also referred to as "mode mixture." 19th-century composers often used borrowed chords to expand harmonic color and to modulate to distantly related keys, especially the chromatically 3rd related keys.
www.music.indiana.edu /som/theory/t511/chords.html   (756 words)

  
 Glossary   (Site not responding. Last check: 2007-11-03)
Chord names identified by the note which is the root of the chord where this note is described by its alphabetic name.
A succession of two functional chords where the root of the second chord is an interval of a perfect fourth or augmented fourth higher or an interval of a perfect fifth or diminished fifth lower.
The chord on the first degree of the scale), II the supertonic chord (the chord on the second degree of the scale) and V the dominant (the chord on the fifth degree of the scale).
www.harmony.org.uk /glossary.htm   (4200 words)

  
 [No title]
Subdominant or “S” class: ii (usually in first inversion as ii6 or ii6/5) and IV (ii06, iiº6/5 and iv in minor), all inversions and all 7ths*.
The subdominant function is not merely suggested by the presence of a chord comprised of scale degrees ^4, ^6 and ^1, it is also characteristically felt by a move in the bass from ^4 to ^5, as part of an S-D motion.
Most ‘predominant chords’ are either ii, IV or some chromatic alteration of one of those two functions (such as a secondary dominant of V or an augmented sixth chord on its way to V; we will learn about the augmented 6th chord later in the semester).
www.bsu.edu /web/harchanko/211musth/211_diatonicreview.doc   (2470 words)

  
 Chord Functions
The minor major 7th chord typically is the tonic, or possibly the subdominant chord in a minor key area.
This could be a tonic chord in a major key, or possibly another 7th chord, because you often have a chain of several 7th chords all a fourth higher (or a fifth lower) than the previous one.
The chord is becoming enharmonically equivalent to a seventh chord a tritone away, that is, a semitone above the tonic.
www.standingstones.com /chordfunc.html   (757 words)

  
 3.6 Neapolitan Chord   (Site not responding. Last check: 2007-11-03)
The origins of this chord are vague and the geographical designation it receives most likely comes from it's use in operas from the Italian city of Naples (where it was often used at dramatic moments in the story) during the 17th century Baroque period.
The function of the Neapolitan triad is that of a predominant substitution for the diatonic chords IV or ii.
The Neapolitan sixth chord is similar to an altered subdominant chord (doubled root, b3, #5 [enharmonically spelled]).
www.uh.edu /~tkoozin/projects/schenck/neapolitanchord.html   (362 words)

  
 Harmony   (Site not responding. Last check: 2007-11-03)
The tonic I, the subdominant IV and the dominant (seventh) V7 are the main chords for (all the) songs of western music.
Another fairly often used chord is the major sixth on the 4th degree, the subdominant sixth (f a c d) which is noted as IV6 when the fifth is not present and as IV56 (5 below 6) if the fifth is present.
A commonly used chord is the double dominant which is the dominant of the dominant.
www.netsector.com /tony/guitar/harmony.html   (2214 words)

  
 Music Theory: A Primer for Guitarists and Bass Players
A dominant chord is simply the chord starting at the fifth position in the scale and is usually a chord with a flatted seventh (of its major scale).
Dominant chords have a very strong tendency to move (want to resolve) to a Tonic chord, usually the I. The avoid notes I listed are notes that either sound dissonant if held against the associated chord or which confuse the function (tonic, subdominant, or dominant) of the chord.
For dominant chords (chords functioning as the V chord in a progression), the seven is flatted.
www.cultv.com /music/categories/theory.htm   (2053 words)

  
 Bill Adam Tribute Web Site - Functional Harmony   (Site not responding. Last check: 2007-11-03)
The subdominant classes include besides the subdominant chord itself, which is, of course, the fundamental sound of this class, the supertonic chord, functioning as the lower related chord and the submediant chord, which functions in this classification when it sounds as a reflection of the subdominant sound.
To cite a specific example, the tonic chord, C E G, in the key of C may be enriched by the addition of the note B flat.
First inversion tends to alter the classification of a chord if one of the harmonic pillars (the tonic note, the dominant note, or the subdominant note) is in the bass of the inversion.
www.roth-music.com /Bill-Adam/articles/FntHarmony.html   (1667 words)

  
 Jazz Education Article
Tonic chords tend to represent a harmonic resting place; subdominant chords act as dominant preparation and, when paired with a dominant chord, help to clarify the key (for example, the pairing of IV with V or ii with V [Ex.
Harmonies that act as embellishment (such as neighboring chords, passing chords, and incomplete neighboring chords) are non-functional; such chords, which are fundamentally linear, may emphasize functional chords in a progression but do not themselves contribute to the motion of the phrase as essential components of the progression.
Although chord structures are generally familiar ones (tertian chords such as major-minor-seventh, major-major-seventh, minor-minor-seventh, or the like) and the familiar scale choices are available, there is greater freedom in the meaning that is conveyed by the placement of harmonies in a succession of chords.
www.iaje.org /article.asp?ArticleID=57   (2934 words)

  
 [No title]   (Site not responding. Last check: 2007-11-03)
It is called a C chord, because the C is the note from which the other tone emanate—are created by the overtones of C. It can be called a tonic chord, but only in the key of C, as it is built on the tonic note of the scale.
Thus, to change a C major scale to c minor: the E (the 3rd of the I chord) is lowered to E flat the B (the 3rd of the V chord) is lowered to B flat the A (the 3rd of the IV chord) is lowered to A flat.
The chord progression, V — I, using the leading tone 7th as the third of the V chord is so satisfyingly key-confirming and closure effecting that it is used to conclude (cadence in) all tonal music, whether in minor or major keys.
www.cwu.edu /~music/theory/ScalesTriads.doc   (3341 words)

  
 Theory - Circle of Quints, Harmonics, Sheet Music, Rhythm, Chords, Notes
A usual chord pattern of a tune therefore is: C - F - G7 - C. You can see the main chords of every key in the light blue columns of the Table of Chords.
It is, f.i., in C major the chord C as basic chord (tonic), F as subdominant chord, and G or G7 as dominant chord.
Chords are mostly, but not always, changed at the first position of a bar, it is the accented note (or sung syllable).
alles-uke.de /theory.htm   (2770 words)

  
 VanDruff Design: Musikeys Detailed Description
The Dominant chord, using the musical note mapping of the preferred embodiment, is generated by pressing one key in the home row and two keys in the next row up in as convenient a way as possible to access while still being roughly sequential from left to right, for example.
The Subdominant chord, using the musical note mapping of the preferred embodiment, is generated by pressing one key in the home row and two keys from the row below the home row in a similar fashion, for example.
The Subdominant chord is comprised of F, A, and C; where C is in the home row and F and A are just one row down.
www.vandruffdesign.com /musikeys_patent.html   (3374 words)

  
 CLASSICAL MUSIC ARCHIVES: Definition of CADENCE
Chord of the tonic or some other chord followed by that of dominant.
Chord of the subdominant followed by that of tonic.
Any of the chords may be taken in inversion, but if that is done in the case of the perfect cadence its effect of finality (i.e.
www.classicalarchives.com /dict/cadence.html   (560 words)

  
 Pat Metheny Group Listener Network   (Site not responding. Last check: 2007-11-03)
chord is the ii of a vi target (in a minor ii-V-i), and diatonically, that would be the vii in a major key as we've discussed thus far.
Diminished chords and scales have always been a weak point for me. I can play the chords all over the neck, and know their dominant b9 relationship, and minor third quality, but their actual function in a particular song context and how to best solo melodically through them has always been challenging.
Since the passing B dim 7 chord in question here follows a C minor 7 chord and resolves to a B flat chord, we could think of the sequence as a ii-V in B flat, and treat the B diminished chord as an F7 or B7 chord (V7 of ii).
www.patmethenygroup.com /pmg/forum/subjectView.cfm?subNum=13835   (7296 words)

  
 Music Practicing Tips
The V7 chord for G is D7 (the tones are: D, F#, A, C) The "C" is the 7th of the chord.
When using a chord as a pivot chord, it is fine if it belongs to either the major or the parallel minor version of the key center.
Fm is the pivot chord because Fm is iv (minor subdominant) in the original key, but in the new key of E-flat it is ________.
www.lovemusiclovedance.com /modulation.htm   (2175 words)

  
 Twisted Harmonies
You will notice that the augmented 4th (the suspended note which acts as the 4th of the scale, by the way it resolves), this E is also the subdominant note and subdominant chord.
Whenever there is a dominant seventh chord (G7), it is actually G6, where the E is the main voice - the most audible added note - which then resolves to the 3rds of the tonic (see the last note of the oboe in the first bar).
In a similar way, it is the 3rd of the dominant chord (G - note B) which leads semitonally to the root of the tonic, and although this is downwards instead of upwards, it is emphasised by its position in the bar as a movement of importance.
www.mrandmrspitts.pwp.blueyonder.co.uk /twistharm.htm   (1766 words)

  
 Neurosciences & Systèmes Sensoriels - xxxx   (Site not responding. Last check: 2007-11-03)
For this purpose, the harmonic relationship between the target chord and its preceding prime context (that can be either a single chord or a chord sequence) is systematically manipulated.
In the harmonic priming paradigm, the to-be-processed target chord is preceded by a prime context (the first seven chords of the sequence), and the harmonic relations between prime and target are systematically manipulated.
In the present case, the target chord functions either as a strongly related, stable tonic chord (I) or as a less related, subdominant chord (IV).
olfac.univ-lyon1.fr /unite/equipe-02/tillmann/priming.html   (432 words)

  
 [No title]
Notice also that the new chord is available for added notes (as described in previous part), which can be chosen so that they are common with the added notes of the original V chord (e.g.
Another chord we mentioned, even if not a part of II-V-I, but sometimes in a progression of fifths, is the minor subdominant chord.
Usually it functions as a replacement or a complement to the major subdominant chord, and is followed by III, V, or I. The minor subdominant can however be substituted by a dominant ninth chord with root a fifth lower than the subdominant root.
www.guitarpress.com /h7.html   (360 words)

  
 Phrygian cadence   (Site not responding. Last check: 2007-11-03)
A chord progression where the subdominant chord (in first inversion) is followed by the dominant chord (IV
The root of the final chord is approached from a.html">half step above.
" represents the chord based on the fourth step of the scale (in first inversion) and the "V" represents the chord based on the fifth step of the scale.
www.music.vt.edu /musicdictionary/textp/Phrygiancadence.html   (96 words)

  
 wtc-ii-6
The subdominant field within the large-scale harmonic development is established in bar 42 but immediately gives way to a dominant pedal.
While M1a is harmonically determined and reaches its climax on the subdominant chord (bar 2) followed by a diminuendo until the end of the motive, the leading part of M1 follows melodic features.
The syncopated G embodies harmonically both the subdominant and the dominant chord, and the subsequent eighth-note F brings the return to the tonic; so there is a point for regarding the main body of the subject as ending here.
www-personal.umich.edu /~siglind/wtc-ii-06.htm   (5285 words)

  
 Chapter 15 - Chromatic Alterations
The augmented tonic chord may be used in root position or first inversion when approaching the subdominant chord.
A raised fifth (raised tonic scale degree) of the subdominant chord must ascend to the supersonic scale degree (supersonic or dominant chord).
The augmented subdominant chord may be used in root position or first inversion when approaching the dominant chord.
www.tpub.com /harmony/40.htm   (253 words)

  
 Sweetwater inSync
In music, the fourth tone of the diatonic scale, or a chord based on the fourth tone of the scale as its root.
In the C Major scale, F is the fourth, or subdominant, tone.
A simple chord, or triad, based on F includes the notes F, A and C. The word "subdominant" literally means "below the dominant" tone.
www.sweetwater.com /insync/word.php?find=Subdominant   (272 words)

  
 lesson 7   (Site not responding. Last check: 2007-11-03)
The 7th chord that we met in lesson 4, the C7, is not part of the C major tonal scheme, it is the dominant 7th of the F major scale.
The ‘rules’ of how chords move has been the ongoing subject of our studies, these ‘rules’ were first established in the 17th century in the western classical tradition and are referred to as functional harmony.
The major chord can be further elaborated, or decorated, by the use of the major 9th in all your melodic work.
www.meister.u-net.com /dixie/lesson7.htm   (3793 words)

  
 Music theory
A pop song is often based on an existing chord scheme, in stead of the chords being chosen in accordance with the song.
The dominant seventh chord of the C scale is built upon the fifth note G, which is said to 'dominate' the C scale.
In the scale of D the dominant seventh chord is A7 (the one to the right) and the subdominant chord is G (the one to the left).
home.tiscali.nl /~meester7/engmusic2.html   (3243 words)

  
 [No title]   (Site not responding. Last check: 2007-11-03)
After this, the chord progression could end in the Imaj chord, leading to the beginning of a new section, or could continue with a V7-Imaj progression, with a similar effect.
Of course, the minor subdominant chord could be used as a stand-alone chord.
The minor subdominant could also be coloured by an added sixth, as described in the previous part.
www.guitarpress.com /h4.html   (165 words)

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