13 Submediant and Mediant Triads in Root Position and First InversionI. The roman numerals VI and vi refer to the major and minor triads built on the sixth degree of the scale

(submediant triads). The roman numerals III and iii refer to the major and minor triads built on the thirddegree of the scale (mediant triads).

II. Function. The submediant and mediant triads are used less frequently than the primary triads (I, IV, and V)and have less significance for the building of musical structure. They may be thought of as embellishing orsubstituting for the more fundamental harmonies. They are often found in sequences.

Progressions.

A. The VI chord is usually preceded by III, I, or V and is usually followed by II, V, or IV.

B. VVI or V7VI is a deceptive resolution. When this progression occurs at a cadence point, it is termed adeceptive cadence (D.C.). Note the usual resolution of the leading tone and the seventh of the dominantseventh chord, as well as the resulting doubled third in the submediant.

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C. The III chord is usually preceded by I or VI and is usually followed by IV or VI. Note the scale-degreeformulas in the upper voice associated with these progressions.

III. Linear uses.

A. The root position VI chord can be used to embellish the I chord.

B. Both VI6 and III6 are weak structures; they are rarely independent.

In these instances the mediant and submediant may be understood as linear chords, or the third or sixthscale-degree may be understood as a nonharmonic tone.

C. In minor, a sonority that may look like III!6 is normally heard and used as a V, with scale-degree 3 as anonharmonic tone. The root position III! is usually the result of a chromatic passing tone.

For a further discussion of the augmented III, see Part II, Unit 15.

Analysis

Analyze music containing phrases of irregular length.

1. Are the phrases shorter or longer than normal?

2. What devices are used to achieve this irregularity?

3. Do the phrases form periodic or phrase-group relationships?

Exercises

1. Realize the following figured basses. (Refer to Part V, Unit 10.) Employ nonharmonic tones, and work fora musical soprano melody. Analyze all work completely.

a.

b.

c.

d.

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2. Harmonize the following melodies, employing mediant and submediant triads where appropriate:

a.

b.

c.

d.

e.

3. Study examples of nonimitative two-voice counterpoint in Music for Analysis. Then, complete the follow-ing exercises and analyze fully, being attentive to the rhythmic and intervallic relationships between thevoices and to the clarity of the harmonic implications. Refer to Part V, Unit 19, on counterpoint.

a.

b.

4. Add a bass voice to the given melody. The added voice should be as melodically independent as possible.

5. Compose a period for an instrumental combination available in class, employing the phrase and cadencestructure outlined here. (Refer to Part V, Unit 23, for information on instrumental ranges and transpositions.)

6. The following patterns may be used for composition or improvisation:

a. D major:

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b. E minor:

7. Compose a double period for an instrumental combination available in class, employing the period,phrase, and cadence structure outlined here. (Refer to Part V, Unit 23, for information on instrumentalranges and transposition.)