In Song X, E[flat] major acts as a flat
submediant of G major (the principal keys of Songs IX and XI).
25-32) is stated entirely in the subdominant key of F major; a
submediant flat VI chord is heard in m.
The overall context that motivates the latter interpretation is a shift in emphasis from the tonic in B minor to chords that are enharmonic equivalents to the
submediant seventh chords [vi.sup.[phi]7] and [vi.sup.[phi]7].
The principal works under discussion include the "Trout-Quintet (subdominant), the Symphonies in B Minor and the "Great" C-Major (mediant and
submediant), the Quartellsatz and Piano Sonata in C Major (supertonic and subtonic), mid the String Quartet in Major (parallel major and minor).
Tonality is also blurred by mediant and
submediant chords, often in first inversion.
IV.4 and HG 124), there are several specific relationships in melodic and rhythmic figurations and harmonic progressions, in particular the semiquaver scale ascending from tonic to dominant (Lotti, bars [1.sup.2]-[2.sup.1]; Handel, [1.sup.1-2]), the descent from
submediant to dominant in quavers from a weak to a strong beat (Lotti [2.sup.2]-[3.sup.1]; Handel, [1.sup.2-3]), and the identical harmonic progressions during these figurations - the outline of an F major triad on strong beats in the bass (Lotti, [1.sup.1]-[4.sup.1]; Handel, [1.sup.1]-[2.sup.1]) and the oscillating triadic patterns in semiquavers (Lotti, 5-6; Handel, 3).
The second half generally begins with a recollection of the opening A material (varying from three to seventeen measures) before moving into a section of technical display for the cello set against an unstable harmonic background, nearly always including a temporary move to the
submediant. In the later publications the referential material will be more predictable, generally eight to ten measures.
In G major, the mostly simple harmonic structure contains some excursions of the type familiar in Schubert songs--alternation of major and minor, sudden use of the
submediant, and, melodically, the use of ornaments, particularly turns, at cadences.
and B, C and D, and E and F respectively.(19) Cuthbert Girdlestone's explanation is similar: refrain (aba); couplet (
submediant); partial refrain (a); couplet (subdominant); bridge; refrain; coda.(20) Although Girdlestone acknowledges that both couplets are similarly shaped, neither he nor Hutchings and Tischler draw attention to the fact that both episodes rely upon material that is in certain senses very closely related.
His virtuoso analysis of the third movement of the Piano Quintet synthesizes several traditional critical observations--the tonal ambiguity of the opening, the persistent emphasis on the half-step between dominant and
submediant and the juxtaposition of 6/8 and 2/4--thereby revealing them as part of a sophisticated strategy of intensified instability and delayed resolution.
A favorite harmonic device moves the music from a minor key to its major
submediant. In general, the compositional style is romantic harmonically and in the thickness of texture, but not musically complex.
Not only does the redundancy of this gesture have the effect of undermining the opening, the repetition is actually weaker in itself since it cadences on the inconclusive
submediant rather than the strong dominant.
7-9), the addition of E[flat] transforms C harmony from the dominant of F minor to the tonic of C minor, which, in turn, moves to A[flat] minor--the minor form of its
submediant. The third gesture (mm.
Gauldin presents the remaining triads, the mediant and the
submediant, in chapter 18 and covers the uses of the leading-tone seventh chord in chapter 21.
Beach's contribution considers the sometimes ambiguous role of the
submediant triad in harmonic progression.
