Information om | Engelska ordet SUBDOMINANT

Exempel på hur man kan använda SUBDOMINANT i en mening

• Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords.
• Music which modulates (changes key) often modulates to the subdominant when the leading tone is lowered by half step to the subtonic (B to B in the key of C).
• The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert.
• The submediant ("lower mediant") is named thus because it is halfway between the tonic and the subdominant ("lower dominant") or because its position below the tonic is symmetrical to that of the mediant above.
• In common practice tonality, it usually had subdominant function as minor eleventh chord on the second degree (supertonic) of the major scale.
• These three triads were soon considered the most important chords of the major tonality, with the tonic in the center, the dominant above and the subdominant under.
• In the other resolutions, the dominant remains stationary, the leading note and supertonic resolve to the tonic, and the subdominant resolves to the mediant.
• Due to Beethoven's metronome markings and the addition of the indication of con moto ("with motion"), the Andante (in F major, the subdominant of the symphony's home key) of the second movement is played considerably faster than the general concept of that tempo.
• The Andante favori is in F major (the subdominant of the Waldstein key), in 3/8 time, and is marked Andante grazioso con moto.
• In a minor key, the closely related keys are the parallel major, mediant or relative major, the subdominant, the minor dominant, the submediant, and the subtonic.
• " Garratt writes, "While the idea of presenting the verse harmonies in the subdominant in the bridge was not new, what is striking here is the smoothness with which the song drops back into the original key – a moment rendered even more arresting by the truncated three-measure phrase that precedes it.
• Johann Sebastian Bach used E major for a violin concerto, as well as for his third partita for solo violin; the key is especially appropriate for the latter piece because its tonic (E) and subdominant (A) correspond to open strings on the violin, enhancing the tone colour (and ease of playing) of the bariolage in the first movement.
• The immense second movement, marked Adagio, ma no troppo e molto cantabile, is in the subdominant key of A major.
• A typically laconic Schubertian transition consists of just four measures for the two horns, effectively modulating to the subdominant parallel key of G major (measures 38–41).
• The same section's first line ends with the surprise inclusion of a blues-based riff, soon after which the C7 chord is used again in the ascent to the IV (subdominant) chord, helping to accentuate the phrase "damn good whacking".
• Jardine updated the chord progression by having the subdominant (D♭ major) move to its relative minor (B♭ minor) before returning to the tonic (A♭ major), thus altering a portion of the song's progression from IV — I to IV — ii — I.
• Samson divides the complex structure into sections, starting with the bell-like Introduction, bars 1–7: the slow waltz in the first theme and variations — Theme I in F minor, bars 7–22, Variation I, bars 23–36, and Variation II, bars 58–71; and the second theme, Theme II in the subdominant B flat major, bars 80–99, The pastoral second theme is a cross between a barcarolle and a chorale.
• The march is written in E♭, with its trio section changing keys to the subdominant A♭ as is typical for marches and polkas.
• The unorthodox, chromatic harmonic structure of this movement is generated from a short progression that appears towards the end of the A section, leading to a plagal cadence in the subdominant key (D), chromatically colored with its own minor subdominant chord (G minor).
• POLARBEAR's published measurements focused on a small but clean patch of the sky where galactic foregrounds should be subdominant to gravitational lensing B-modes.

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