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Subdominant

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Tonal degree of the diatonic scale

${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4 d e \once \override NoteHead.color = #red f g \once \override NoteHead.color = #red a b \time 2/4 \once \override NoteHead.color = #red c2 \bar "||" \time 4/4 <f, a c>1 \bar "||" } }$

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${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4 d es \once \override NoteHead.color = #red f g \once \override NoteHead.color = #red aes bes \time 2/4 \once \override NoteHead.color = #red c2 \bar "||" \time 4/4 <f, aes c>1 \bar "||" } }$

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The scale and subdominant triad in C major (top) and C minor (bottom).

Inmusic, thesubdominant is the fourth tonaldegree () of thediatonic scale. It is so called because it is the same distancebelow thetonic as thedominant isabove the tonic – in other words, the tonic is the dominant of the subdominant.^[1]^[2]^[3] It also happens to be thenote onestep below the dominant.^[4] In themovable do solfège system, the subdominant note is sung asfa.

Thetriad built on the subdominant note is called thesubdominant chord. InRoman numeral analysis, the subdominant chord is typically symbolized by the Roman numeral "IV" in a majorkey, indicating that the chord is amajor triad. In a minor key, it is symbolized by "iv", indicating that the chord is aminor triad.

In very much conventionallytonal music, harmonic analysis will reveal a broad prevalence of theprimary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these.

— Berry (1976)^[5]

These chords may also appear asseventh chords: in major, as IV^M7, or in minor as iv⁷ or sometimes IV⁷:^[6]

${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 \key c \major <f a c e>1_\markup { \concat { "IV" \raise #1 \small "M7" } } \bar "||" \clef treble \time 4/4 \key c \minor <f aes c es>1_\markup { \concat { "iv" \raise #1 \small "7" } } <f a c es>^\markup { \tiny { "infrequent" } }_\markup { \concat { "IV" \raise #1 \small "7" } } \bar "||" } }$

Acadential subdominant chord followed by a tonic chord produces the so-called plagal cadence.

Subdominant chords typically havepredominant (subdominant)function, less resolved than tonic but more resolved than dominant, as with other chords which often precede the dominant. InRiemannian theory in particular, it is considered to balance the dominant around the tonic (being as far below the tonic as the dominant is above).

The termsubdominant may also refer to a relationship of musical keys. For example, relative to the key of C major, the key of F major is the subdominant. Music whichmodulates (changes key) often modulates to the subdominant when theleading tone is lowered byhalf step to thesubtonic (B to B♭ in the key of C). Modulation to the subdominant key often creates a sense of musical relaxation, as opposed to modulation to the dominant (fifth note of the scale), which increases tension.

References

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^Jonas, Oswald (1982).Introduction to the Theory of Heinrich Schenker (1934:Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p. 22. Trans. John Rothgeb.ISBN 0-582-28227-6. "subdominant [literally,lower dominant]" emphasis original.
^Benward & Saker (2003).Music: In Theory and Practice, Vol. I, p. 33. Seventh Edition.ISBN 978-0-07-294262-0. "The lower dominant."
^Forte, Allen (1979).Tonal Harmony, p. 9. 3rd edition. Holt, Rinehart, and Wilson.ISBN 0-03-020756-8. "The triad on IV is called the subdominant because it occupies a positionbelow the tonic triad analogous to that occupied by the dominant above.
^"Subdominant",Dictionary.com.
^Berry, Wallace (1976/1987).Structural Functions in Music, p. 62.ISBN 0-486-25384-8.
^Kostka, Stefan; Payne, Dorothy (2004).Tonal Harmony (5th ed.). Boston: McGraw-Hill. p. 229.ISBN 0072852607.OCLC 51613969.

External links

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Media related toSubdominant at Wikimedia Commons

Degrees andfunctions of thediatonic scale

I / i (Major/Minor)	ii / ii^o	iii / III	IV / iv	V / v	vi / VI	VII / vii^o
Tonic	Supertonic Sp	Mediant Dp,Tkp,tP,[D](Sp)	Subdominant	Dominant	Submediant Tp,sP,tCp	Leading tone D̸⁷	Subtonic dP
C	D	E♮ / E♭ (Minor/Major)	F	G	A♮ / A♭ (Minor/Major)	B♮ / B♭ (Diminished/Major)

Chords

By form

Triad	Major Minor Augmented Diminished Suspended
Seventh	Leading-tone Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh
Extended	Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster
Added / omitted	Sixth Augmented sixth Lydian Seven six
Specific	Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord
General	Mixed interval Secundal Tertian Quartal and quintal Synthetic chord Tetrad

Byfunction

Diatonic	Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone /Subtonic
Altered	Approach Borrowed Chromatic mediant Neapolitan Passing
Secondary	Secondary dominant Secondary leading-tone Secondary supertonic
Other	Common Contrast Primary triad Subsidiary Substitute

Techniques

Other

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