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Topic: Subdominant parallel

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	Country Music - The Roughstock Network -
		Subdominant sixth 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.
		TONIC PARALLEL On the sixth degree of the scale is the parallel minor of the tonic.
		DOMINANT PARALLEL On the third degree of the scale is the parallel minor of the dominant.
	www.roughstock.com /cowpie/resourcelister.html/TheoryForGuitar.txt (6055 words)

	A Monk's Musical Musings: October 2006 (Site not responding. Last check: 2007-11-03)
		This subdominant also proceeds to the dominant, as expected, at the beginning of the second measure, and the lower neighbor major second over the root of the dominant is another vigorous contrapuntal effect.
		Parallel fifths and fourths are similar in that they are all perfect in the diatonic system except for one: So, there is only an 14.3% chance for variety with parallel fifths and fourths.
		Derivations for the second-tier secondary subdominants are demonstrated on the second system: The Lydian sonority on the lowered seventh degree comes from the parallel Mixolydian, and the Lydian sonority on the lowered third degree comes from the parallel Dorian.
	hucbald.blogspot.com /2006_10_01_hucbald_archive.html (15088 words)

	wtc-ii-16
		The parallel figure in S: bars 24/25, T bars 25/26 etc. are of secondary importance.) The six-eighth-note figure in the bass is sequenced three times with considerable variation.
		Thus in the first pair which is harmonically in F major, the tenor begins correctly on the fifth and carries on accordingly, while the alto, doubling in thirds, does not maintain the original interval structure.
		This most powerful climax is then followed by a steep release, achieved by the combination of three means: the extension of the subject statement with a two bar delay of the resolution, the sudden drastic interruption of the polyphonic style in favor of homophonic chords, and the hemiola pattern with its four part rests.
	www-personal.umich.edu /~siglind/wtc-ii-16.htm (5467 words)

	Automatic chorder for stringed instruments - Patent 4428273
		It has one string contacting means located close to the second fret and is activated in conjunction with the second lever to complete the second chord and in conjunction with the third lever to produce the seventh tone to the third chord.
		Parallel to levers 2 and auxiliary lever 1 is a wide lever 3 which, like lever 2, extends partially across the handrest.
		They are connected by two parallel rods 21 which pass through the neck 12 of the stringed instrument perpendicular to the strings, thus securing the chorder 1 on the instrument 10.
	www.freepatentsonline.com /4428273.html (4811 words)

	Apparatus and method for decoding four channel sound - Patent 3943287
		Each enhancement signal is applied at a relative phase which is the opposite of said signal present in subdominant proportion and at a level which depends on the measured degree of directional predominance of its principal component.
		In a preferred embodiment of the invention a plurality of control signals are generated as a function of the measured directional predominance of the four individual audio signals, and these control signals are utilized to modulate the level at which the enhancement signals are applied.
		The signal applied to terminal 70 is applied in parallel and phase shifted by a pair of phase shift networks 74 and 76, and the signal applied to input terminal 72 is applied in parallel to networks 78 and 80.
	www.freepatentsonline.com /3943287.html (7369 words)

	Intonation
		The thirds of different triads are tuned by increasing amounts (relative always to equal temperament) as chords move in the subdominant direction around the circle of fifths, and by decreasing amounts as chords move in the dominant direction around the circle of fifths.
		The thirds of minor triads, in a major key, generally are tuned as fifths from the tonic of the key, while the root and fifth are tuned in parallel an amount corresponding to the difference between a minor third in equal temperament and in the third between a pure major third and a pure fifth.
		It is tuned as a fourth from the subdominant (4 cents lower); the whole measure is tuned around the final chord, the minor chord on the second scale step.
	www.hartenshield.com /intonation.html (845 words)

	Tonality and Harmony: Scales (Site not responding. Last check: 2007-11-03)
		Parallel keys are keys that share the same tonic note, e.g., C major and C minor.
		One way is to take the tonic (the original key), its subdominant and dominant keys, and all their relative major/minor.
		Likewise, the closely related keys of A minor are D minor (subdominant), G minor (dominant), and all their relative majors, C, F, and G majors.
	www.music.indiana.edu /som/theory/t511/harmony.html (682 words)

	Cazoo Music Den
		On the sixth degree of the scale is the parallel minor of the tonic.
		On the third degree of the scale is the parallel minor of the dominant.
		On the second degree of the scale is the parallel minor of the subdominant.
	www.cazoo.org /music/harmony.html (2190 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.
		In the minor, the supertonic triad is diminished and thus unstable because it contains a tritone between the root and the 5th; therefore, it often occurs in first inversion with the bass note doubled.
	www.music.indiana.edu /som/theory/t511/chords.html (756 words)

	Diatonic function - definition of Diatonic function - Labor Law Talk Dictionary (via CobWeb/3.1 planetlab2.cs.unc.edu) (Site not responding. Last check: 2007-11-03)
		Functional tonality refers to tonality which uses diatonic functions, non-functional tonality being when the diatonic elements are present (for instance the major scale) but do not use or fulfill their possible function as in, for instance, pandiatonicism.
		For instance in C major an a minor is the Tonic parallel or Tp.
		The parallel is formed by rasing the fifth a whole tone, the root position of the parallel chords is indicated by the small noteheads.
	encyclopedia.laborlawtalk.com.cob-web.org:8888 /Diatonic_function (1064 words)

	MO01
		Also you will notice that the two notes which are involved in the tritone are the leading tone (3rd of the chord) and the subdominant (7th of the chord).
		This is the reason for the 7th of the chord (which is the subdominant of the key) to resolve down by step.
		In the dominant 7th chord it is possible to omit the 5th of the chord and to double the root.
	www.odu.edu /al/wbartolo/mod32a.html (646 words)

	Music Theory: Scales
		Another term you may encounter is that of parallel scales.
		Parallel scales are different scales that have the same tonic.
		D major and D minor are an example of parallel scales.
	www.users.qwest.net /~mbenjamin4/mypages/music/scales.html (2320 words)

	Sonic Glossary: Fifth
		You heard a short fragment of such parallel organum at the beginning of this definition.
		By taking the triads that lie a perfect fifth apart from one another - that is, the triads built on the tonic, the dominant, and the subdominant - we have the three most important chords in tonal harmony: chords I, V, and IV, familiar to all players of the guitar.
		The triads and keys of the tonic, dominant and subdominant, which are separated by perfect fifths, are the most important components of tonal harmony, and the most frequent goals of modulation.
	www.columbia.edu /ccnmtl/draft/paul/sonic/fifth.html (996 words)

	Chords. Compose music and ear training software
		Chords of Subdominant group do not contain the scale degree VII and sound less strenuously compared to the Dominant group chords.
		The triads built on scale degrees I, IV and V are the main triads.
		The triads built on scale degrees II and IV are the subsidiary triads of the Subdominant group.
	www.ababasoft.com /music/compose/chords.html (1067 words)

	music definitions (Site not responding. Last check: 2007-11-03)
		Structural tones - The first, fourth, and fifth tones of the scale are the roots of the three primary triads: tonic, subdominant and dominant.
		Subdominant - The fourth scale degree, or the chord built thereupon.
		Subdominant seventh chord - A seventh chord built on the fourth scale degree.
	guitarsecrets.com /music_definitions.htm (3370 words)

	WTC II/19 in A major - Prelude
		Although rudimentary imitation is used, parallel motion and complementary interplay is so frequent that one would not speak of a strictly polyphonic piece.
		This further parallel also comes with dotted-note rhythm; the splitting may appear as note repetition, octave displacement or chromatic semitone.
		It is accompanied by a three-eighth-note ascent in the lower voice, which in turn is partially paralleled in the middle voice.
	www-personal.umich.edu /~siglind/wtc-ii-19.html (2585 words)

	Augmented Sixth Chords
		Two factors contribute to the strengthening of dominant function: first, the dominant is approached in all voices by step, so no fifth motion takes place between the chords; second, in the usual voice leading, the dominant scale degree is in the outer voices approached by contrary motion.
		Although augmented sixth chords are in general derived from the subdominant, they are in particular derived from a specific subdominant function, the Phrygian cadence.
		The parallel 5ths are either masked by figuration or placed in the inner voices where they are not heard as prominently.
	www.utexas.edu /courses/mus612b/fmain/fdocs/notes/augsixth.html (2293 words)

	MUS 111-112 Part-Writing Quick Reference Guidelines
		Avoid parallel 5ths and parallel octaves between any two voices, and the augmented second (A2) in a melodic line.
		When both triads are in an inversion, each triad must have a different doubling to avoid parallel 5ths and/or octaves, or the same doubling may appear in a different pair of voices.
		To avoid parallel 5ths, the German 6th proceeds to the tonic six-four instead of V (the eventual chord of resolution).
	spider.georgetowncollege.edu /music/burnette/partwriting.htm (1507 words)

	Lesson 8: Mixing It Up
		For instance, the parallel minor of G major would be G minor.
		In the same way, the parallel major of D minor would be D major.
		The 7th chord, or leading tone, is diminished in both major and minor keys because the 7th is usually raised to provide a smooth transition from the leading tone to the tonic.
	www.easypianobasics.com /subpage7.html (459 words)

	NewComposer
		The new key, A minor, would have E major as the new dominant major chord, D minor as the new subdominant and A minor as the tonic chord.
		The vii-I progression is essentially parallel movement of each tone of the vii to the tone above, for example, BDF to CEG.
		Choice of parallel thirds or sixths may depend on the voice parts, male or female, and their vocal ranges.
	courses.ncssm.edu /church/emusic/NewMusic/Composer/Harmony.htm (2217 words)

	Lecture 11
		As mentioned previously, parallel 5ths have been considered undesirable within the context of traditional music theory voiceleading principles (go figure, it makes no sense to me).
		The interval of F to C (in the F triad) is a Perfect 5th and both of those notes move in parallel motion to another perfect 5th, (G to D from the G triad).
		The first way uses a parallel voicing and the second moves the voices in the opposite direction of the root movement.
	www.guitarland.com /Music10/FGA/Lecture11.html (3926 words)

	Counter parallel - Wikipedia, the free encyclopedia
		The chord can be seen as the "tonic parallel reversed" and is in a major key the same chord as the dominant parallel (Dp) and in a minor key equal to the subdominant parallel (sP); yet, it has another function.
		For example, Am is the tonic parallel of C, thus, Em is the counter parallel of C. The usual parallel chord in a major key is a minor third below the root and the counter parallel is a major third above.
		Both the parallel and the counter parallel have two notes in common with the tonic (Am and C share C and E; Em and C share E and G).
	en.wikipedia.org /wiki/Counter_parallel (372 words)

	Life B3.8. Nail Buffing
		Remove felt mat and unfold so long edge is parallel to the bottom of the table, close to the edge of the table.
		Take Emory board in dominant hand and place it against end of thumbnail of subdominant hand, moving it side to side in a straight motion, smoothing the end of the nail.
		Take orange stick in dominant hand and place it under thumb nail of subdominant hand, moving stick from one side of nail to the other, removing dirt.
	www.ux1.eiu.edu /~cfsjy/mts/life/b3-8.htm (488 words)

	Computer Applications in Music Research -- Sample Problems
		Count the number of subdominant pitches in the soprano voice that are approached by rising thirds or sixths and that coincide with a dominant seventh chord.
		Determine whether the subdominant pitch is used less often in pop melodies than in French chanson.
		Identify how often a high subdominant note in a long-short-long rhythm is followed by a low submediant in a long-long-short context.
	dactyl.som.ohio-state.edu /Humdrum/problems.html (2778 words)

	Raised Root
		Chords constructed on the raised tonic, supersonic (in major), subdominant, and dominant scale degrees were previously identified as secondary leading tone chords.
		The Italian sixth is constructed on the raised subdominant scale degree and is used in first inversion with doubled fifth.
		The parallel fifths that occur in resolving this chord to the dominant are acceptable, but they should not appear in the outer voices.
	www.tpub.com /harmony/41.htm (326 words)

	Subdominant - SearchMapr (beta) - Visual Web Searching (Site not responding. Last check: 2007-11-03)
		In music, the subdominant is the technical name for the fourth tonal degree of...
		Subdominant (SUB-dah-mi-nint) That tone that is one step below the dominant of a key.
		Subdominant chord (SUB-dah-mi-nint kord) A chord which uses as its root the subdominant note of a key; the IV chord, the...
	www.searchmapr.com /find/subdominant (180 words)

	SoWeirdProductions » First inversion chords (Site not responding. Last check: 2007-11-03)
		Parallel motion – two or more parts in counterpoint moving up or down, in which the interval between each part does not change
		In the example above at bar 1:3 to 1:4 the compound intervals of 10th’s moving in parallel are acceptable.
		As you work through a melody, providing it with a bass line, it is important to be satisfied not only with each phrase, but also with the developing shape of the bass line.
	www.soweirdproductions.com /?page_id=144 (881 words)

	2313topic
		NOTE: Historically, the first signs of chord "substitution" appear as the "trading in" or "borrowing" of a chord in the key for the one belonging to the parallel minor key.
		NOTE: Subdominant progression is the same (another term for) retrograde dominant progression.
		Subdominant Substitution - List the subdominant substitutes (numbers and chord symbols) for the following chords.
	www.southplainscollege.edu /creativearts/2313topic.htm (830 words)

	StickNews - Parallel Galaxy
		Parallel Galaxy, Emmett Chapman's recording from 1985 (recently remastered to CD) is way up there on my recommended listening list.
		The title track, Parallel Galaxy, is rich in these qualities, with a pervading sense of mystery made all the more intriguing when one learns of the connection between the tune and the album's cover art.
		The Key to this Parallel Galaxy is just that: the key of the tune, or rather, the mode of the tune.
	www.stick.com /sticknews/archives/270/mccollam.html (1524 words)

	Amazon.com: "subdominant eigenvalue": Key Phrase page (Site not responding. Last check: 2007-11-03)
		We would therefore like to maximize the distance between the largest eigenvalue, al = 1, and the subdominant eigenvalue (the eigenvalue that in modulus is closest to 1).
		Moreover, the eigenvector associated with the subdominant eigenvalue A* cannot be positive, and det A* = aFA* = det (I - R)...
		Parallel Scientific Computing in C++ and MPI: A Seamless Approach to Parallel Algorithms and their Implementation by George Em Karniadakis, Robert M. Kirby II
	www.amazon.com /phrase/subdominant-eigenvalue (466 words)

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