Submediant

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In music, the submediant is the sixth tonal degree of the diatonic scale. It is so called because it is a step below the mediantonic, in contrast to the mediant being a third above the tonic. It is the mediant of the subdominant triad.

In music theory, the submediant chord is symbolized by the Roman numeral VI if it is major or vi if it is minor.

For example, in the C major scale (white keys on a piano, starting on C), the submediant is the note A; and the submediant chord is A-minor consisting of the notes A, C, and E. Therefore, Am is the vi chord in the C major scale. Further, in the A natural minor scale (same white keys, now starting on A), the submediant is the note F; and the submediant chord is F (or F-major) consisting of the notes F, A, and C. Therefore, F is the VI chord in the A (natural) minor scale.

The submediant function is easily explained in reference to jazz music, where it is used in the "ice cream change" or "blues for alice" progression, which moves from the tonic through the submediant on the way to the ubiquitous II-V-I Jazz sequence (part of the cycle of fifths). The progression's consistency is amplified by the submediant's fifth-relationship above the supertonic. This submediant role -- in which it essentially extends from the tonic as a way of "passing" to a subdominant (IV) or supertonic (II) harmony, is as common in popular and classical music as it is in jazz, or any other musical language related to Western European tonality.

"Submediant" also refers to a relationship of musical keys. For example, relative to the key of C major, the key of A major (or A minor) is the submediant. Modulation (change of key) to the submediant is relatively rare, compared with, say, modulation to the dominant, and gives a feeling of relaxation. Susan McClary says that modulation to the lowered submediant (in C: A♭) represents a dream-like state of escape.

In German theory derived from Hugo Riemann the submediant in major is considered the tonic parallel (US relative), Tp, and the minor the subdominant parallel, sP.

v • d • e Degrees of a diatonic scale

^. First note: Tonic ^. Second note: Supertonic ^. Third note: Mediant ^. Fourth note: Subdominant ^. Fifth note: Dominant ^. Sixth note: Submediant ^. Seventh note: Leading/tonic

v • d • e Chords


By Type	Triad	Major · Minor · Augmented · Diminished · Suspended

	Seventh	Major · Minor · Dominant · Diminished · Half-diminished · Minor-major · Augmented major · Augmented minor

	Extended	Ninth · Eleventh · Thirteenth

	Other	Sixth · Augmented sixth · Altered · Added tone · Polychord · Quartal and quintal · Tone cluster · Power

By Function	Diatonic	Tonic · Dominant · Subdominant · Submediant

	Altered	Borrowed · Neapolitan chord · Secondary dominant

With Names		Elektra chord · Hendrix chord · Mystic chord · Petrushka chord · Tristan chord · So What chord