Definitions
from The American Heritage® Dictionary of the English Language, 5th Edition.
- noun The sixth tone of a diatonic scale.
from The Century Dictionary.
- noun In music, the tone of a scale midway between the subdominant and the upper tonic; the sixth, as B in the scale of D. Also called
superdominant .
from the GNU version of the Collaborative International Dictionary of English.
- noun (Mus.) The sixth tone of the scale; the under mediant, or third below the keynote; the superdominant.
from Wiktionary, Creative Commons Attribution/Share-Alike License.
- noun music The sixth
note of ascale , shown as VI.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- noun (music) the sixth note of a major or minor scale (or the third below the tonic)
Etymologies
Sorry, no etymologies found.
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Examples
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The final theme now uses the fullest voicing, the widest range, the strongest and most repetitive syncopation, and the most adventurous harmony (both "Gladiolus" and "Pine Apple," for example, feature prominent shifts to the flatted submediant in their final themes).
Archive 2008-07-01 Matthew Guerrieri 2008
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The final theme now uses the fullest voicing, the widest range, the strongest and most repetitive syncopation, and the most adventurous harmony (both "Gladiolus" and "Pine Apple," for example, feature prominent shifts to the flatted submediant in their final themes).
Categorical denials Matthew Guerrieri 2008
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It contains, among other things of merit, a lullaby, called "Sleep, Little Tulip," with a remarkably artistic and effective pedal-point on two notes (the submediant and the dominant) sustained through the entire song with a fine fidelity to the words and the lullaby spirit; a "Nocturne" in which Nevin has revealed an unsuspected voluptuousness in Mr. Aldrich 'little lyric, and has written a song of irresistible climaxes.
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So the Roman numeral analysis for the A7 chord would be V7/vi - that is, the dominant seventh of the submediant chord (vi) in our original key.
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Those submediant switches from C major into A flat major, and to a lesser extent mediant ones e.g. the octave ascent in the famous I want To Hold Your Hand are a trademark of Lennon-McCartney songs continued with discussion of their hidden meaning in their lyrics.
Nicholas Bate 2008
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Those submediant switches from C major into A flat major, and to a lesser extent mediant ones e.g. the octave ascent in the famous I want To Hold Your Hand are a trademark of Lennon-McCartney songs continued with discussion of their hidden meaning in their lyrics.
Nicholas Bate 2008
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(in the rather unusual related key of the submediant).
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