Subtonic

{{Image frame|content= \new PianoStaff 4 e q | q q | q | f 2 | } >> } \new Staff \fixed c { \clef bass a4 gis a a | a g c' c | c a, b, c | d e a,2 | } \new Lyrics \lyricmode { \set Score.tempoHideNote = ##t \tempo 4=90 I4 V I \tempo 4=60 4 \tempo 4=90 | 4 \markup { \center-column { VII V/III } } III \tempo 4=60 4 \tempo 4=90 | 4 I VII I | II VI \tempo 4=60 I2 | \bar "||" } >> |caption="In minor, the subtonic serves as secondary dominant to the mediant (Bach BWV 26) Allen Forte writes that "[w]hile VII in relation to C minor (I) becomes V in relation to III (E major).... As a major triad on an unaltered or natural scale degree 7 in minor the VII functions as a secondary dominant triad in relation to the mediant." In the minor mode, the subtonic chord may also appear as a major minor seventh chord (i.e. dominant seventh chord), VII7. {{Image frame|content= { \relative c' { \clef treble \time 4/4 2 1 \bar "||" } } |width=300|caption=A backdoor progression in C: ii–VII7–I}}In jazz, the flattened seventh is also used as a substitute for the dominant, V, especially in the backdoor cadence, ii–VII7–I, where the subtonic is substituted for the dominant seventh. In this case, VII functions as a pivot chord borrowed from the parallel minor (its dominant seventh). The chords V7 and VII7 have two common tones: in C major, these chords are G–B–D–F and B–D–F–A. However, while "the leading-tone/tonic relationship is axiomatic to the definition of common practice tonality", especially cadences and modulations, in popular music and rock a diatonic scalic leading tone (i.e., –) is often absent. In popular music, rather than "departures" or "aberrant", the "use of the 'flattened' diatonic seventh scale degree… should not even be viewed as departures". In reference to chords built on the flattened seventh, Richard Franko Goldman argues that "the concept of borrowing is in actuality unnecessary. The mixture of major and minor is a simple fact in the Classical and Romantic periods." ==See also==