Subdominant |
Music Terms

Subdominant |

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Subdominant (from Latin sub – under and dominant; French sousdominante, German Subdominante, Unterdominante) – the name of the IV degree of the scale; in the doctrine of harmony also called. chords built on this step, and a function that combines chords IV, II, low II, VI steps. C. is denoted by the letter S (this sign, like D and T, was proposed by X. Riemann). The value of S. chords in the tonal-functional system of harmony is determined by the nature of their relationship to the tonic chord (T). Main S.’s tone is not contained in any tonic. triads, nor in the overtone series from the tonic. fret sound. Main tone T is part of the C. chord and in the overtone-new series from the IV degree of the scale. According to Riemann, the movement of harmony (from T) to the C. triad is similar to a change in the center of gravity (therefore, C. gravitates less sharply in T than D), which necessitates strengthening this tonality; hence the understanding of S. as a “chord of conflict” (Riemann). The subsequent introduction of the D chord restores the sharpness of the attraction to T and thereby strengthens the tonality. The turnover S – T, which does not have the character of a return from the derived element to the generating element, does not have such a strong sense of completeness of harmonics. development, “finalization”, as a turnover D – T (see Plagal cadenza). The concept of S. and the corresponding term were proposed by J. F. Rameau (“The New System of Music Theory”, 1726, ch. 7), who interpreted S, D and T as the three bases of the mode (mode): “three fundamental sounds, to-rye form a harmony, in which they see the beginnings of a functional theory of harmonics. tonality.

References: Rameau J. Ph., Nouveau systime de musique théorique…, P., 1726. See also lit. under the articles Harmony, Harmonic function, Sound system, Major Minor, Tonality.

Yu. N. Kholopov

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