He then passes smoothly from F major to its flat submediant
D[flat] major at the end of Song XII (Figure 3).
In the wake of Everett's essay, such a declaration requires more comparative study, while Whiteley's writing too is occasionally under-theorized, such as where she equates submediant
bridge beginnings with the quality of being "stuck" (64).
The second triad of the section, in the second half of bar 10, is the pivotal E[flat], which is the subdominant in B[flat] Major, but submediant
in g minor (as was the case with the second half of bar 6)--another play between major and minor tonalities.
Each system consists of tonic, dominant, subdominant, mediant, and submediant
However, he fails to point out that subdominant and submediant
recapitulations are not unknown in Viennese sonata forms, and these later served as models for Schubert's recapitulations in a key other than the tonic.
104, we then modulate from A minor into the minor submediant
key of F minor.
Each line or half-line (except the last half of line 4) begins by establishing the pedal B as tonic or as G[sharp] submediant
, sometimes through chord progressions hinting at functional harmony, sometimes by surrounding B and G[sharp] with consonant intervals, in addition to contextual means (repeating B or G[sharp] or placing them on the downbeat, for example).
This is the first real major triadic sonority in the entire underscore, and it recalls Beethoven's dramatic shift to the flat submediant
in the 'Ode to Joy' at 'vor Gott', resonating with Hans's priestly demeanour.
Tonality is also blurred by mediant and submediant
chords, often in first inversion.
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
1-2]), the descent from submediant
to dominant in quavers from a weak to a strong beat (Lotti [2.
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.