Editing Submediant (section)

==Chord==
Amongst the primary roles played by the submediant chord is that in the [[Cadence#Deceptive cadence|deceptive cadence]], V<sup>(7)</sup>–vi in major or V<sup>(7)</sup>–VI in minor.<ref>[[Arthur Foote|Foote, Arthur]] (2007). ''Modern Harmony in its Theory and Practice'', p. 93. {{ISBN|1-4067-3814-X}}.</ref><ref>Owen, Harold (2000). ''Music Theory Resource Book'', p. 132. {{ISBN|0-19-511539-2}}.</ref> In a submediant chord, the third may be [[Voicing (music)#Doubling|doubled]].<ref>Chadwick, G. H. (2009). ''Harmony – A Course Of Study'', p. 36. {{ISBN|1-4446-4428-9}}.</ref>

: <score vorbis="1" lang="lilypond">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c'' {
             \stemDown
              g1 e
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 c
             }
         \new Voice \relative c' {
             \stemDown
             g1 a \bar "||"
             }
         >>
    >>
</score>
{{Image frame|content=<score vorbis="1" lang="lilypond">
{
\override Score.TimeSignature #'stencil = ##f
\relative c {
  \clef bass
  \time 4/4
  <c e a>1_\markup { \concat { \translate #'(-4 . 0) { "C: vi" \raise #1 \small "6" \hspace #6.5 "ii" \hspace #5 "V" \raise #1 \small "6" \hspace #6.5 "I" } } }
  <d f a> <b d g> <c e g> \bar "|."
} }
</score>|width=300|caption=A [[vi–ii–V–I]] [[chord progression]] in C<ref name="Materials" />}}In major, the submediant chord also often appears as the starting point of a series of perfect descending fifths and ascending fourths leading to the [[Dominant (music)|dominant]], [[Vi–ii–V–I|vi–ii–V]]. This is because the relationship between vi and ii and between ii and V is the same as that between V and I. If all chords were major (I–VI–II–V–I), the succession would be one of [[Secondary dominant|secondary dominants]].<ref name="Materials">Andrews, William G.; Sclater, Molly (2000). ''Materials of Western Music Part 1'', p. 226. {{ISBN|1-55122-034-2}}.</ref> This submediant role is as common in [[Popular music|popular]] and [[classical music]] as it is in [[jazz]], or any other musical language related to Western European tonality. A more complete version starts the series of fifths on the chord of iii, iii–vi–ii–V–I, as in measures 11 and 12 of [[Charlie Parker]]'s "[[Blues for Alice]]". In minor, the [[Chord progression|progression]] from VI to ii° (e.g. A{{music|b}} to D diminished in C minor) involves a [[diminished fifth]], as does the ii° chord itself; it may nevertheless be used in VI–ii°–V–I by analogy with the major. Similarly, a scale's full counterclockwise [[circle of 5ths]] progression I–IV–vii°–iii–vi–ii–V–I can be used by analogy with the usual descending fifth progression, even though IV–vii° involves a diminished fifth.

[[File:Wagner - Tannhauser, Zu dir wall'ich.png|thumb|right|300px|Wagner – ''[[Tannhäuser (opera)|Tannhäuser]]'', "Zu dir wall' ich":<ref name="Materials"/> I–vi–IV–ii–V progression[[File:Wagner - Tannhauser, Zu dir wall'ich.mid]]]]
Another frequent progression is the sequence of descending thirds (I–vi–IV–ii–|–V in [[root position]] or [[first inversion]]), alternating major and minor chords.<ref name="Materials"/> This progression is also frequent in jazz, where it is used in a shortened version ||: I vi | ii V7 :|| in what is nicknamed the "[[I Got Rhythm]]" progression by [[George Gershwin]]. This chord progression moves from [[Tonic (music)|tonic]] I, to the submediant (vi), to the supertonic ii, to the dominant V7.

[[Chromatic submediant]]s, like [[chromatic mediant]]s, are chords whose [[root (chord)|roots]] are related by a [[major third]] or [[minor third]], contain one [[common tone (chord)|common tone]], and share the same quality, i.e. [[major or minor]]. They may be [[altered chord]]s.

Submediant chords may also appear as [[Seventh chord|seventh chords]]: in major, as vi<sup>7</sup>, or in minor as VI<sup>M7</sup> or {{music|sharp}}vi{{music|halfdim}}<sup>7</sup>:<ref name="K&P 2463">{{Cite book|title=Tonal Harmony|url=https://archive.org/details/workbookfortonal00kost_245|url-access=limited|last1=Kostka|first1=Stefan|author1-link=Stefan Kostka|last2=Payne|first2=Dorothy|date=2004|publisher=McGraw-Hill|isbn=0072852607|edition=5th|location=Boston|pages=[https://archive.org/details/workbookfortonal00kost_245/page/n219 231]|oclc=51613969}}</ref><blockquote><score lang="lilypond">
{
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
   \clef treble
   \time 4/4
   \key c \major
   <a c e g>1_\markup { \concat { "vi" \raise #1 \small "7" } } \bar "||"

   \clef treble
   \time 4/4
   \key c \minor
   <aes c es g>1_\markup { \concat { "VI" \raise #1 \small "M7" } }
   <a c es g>_\markup { \concat { "♯vi" \raise #1 \small "ø7" } } \bar "||"
} }
</score></blockquote>In [[rock music|rock]] and popular music, VI in minor often uses the chromatically lowered fifth scale degree as its seventh, VI<sup>7</sup>, for example as in [[Bob Marley]]'s clearly minor mode "[[I Shot the Sheriff|I Shot The Sheriff]]".<ref name="Stephenson">Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p. 89. {{ISBN|978-0-300-09239-4}}.</ref>