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| [[Image:Subtonic and tonic in C.png|thumb|Tonic and subtonic in C {{audio|Subtonic and tonic in C.mid|Play}}. C major and B{{music|flat}} major chords.]] | | Selected of the author is definitely Gabrielle Lattimer. [http://fishkeeping.org/ Fish keeping] is something her brother doesn't really like but she does. Idaho is where her home happens to be and she will rarely ever move. Software contracting is what she would but she's always would like her own [http://www.twitpic.com/tag/business business]. She is without a doubt running and maintaining a brand new blog here: http://circuspartypanama.com<br><br> |
| [[Image:Backdoor progression in C.png|thumb|[[Backdoor progression|"'Backdoor' ii-V"]] in C: ii-{{music|flat}}VII<sup>7</sup>-I {{audio|Backdoor progression in C.mid|Play}}]] | |
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| In [[music]], the '''subtonic''' is the [[Degree (music)|scale degree]] below the [[tonic (music)|tonic]] or, more specifically, the '''flattened seventh''' ('''{{music|flat}}VII'''): the lowered or [[minor seventh]] degree of the [[Scale (music)|scale]], a [[major second|whole step]] [[wikt:sub-|below]] the tonic, as opposed to the [[leading-tone|leading tone]], which is only a [[minor second|half step]] below the tonic.<ref>Bruce Benward and Marilyn Nadine Saker, ''Music: In Theory and Practice'', vol. 1, seventh edition (Boston: McGraw-Hill, 2003), p. 33. ISBN 978-0-07-294262-0.</ref> The distinction between leading tone and subtonic has been made by theorists since at least the second quarter of the 20th century.<ref>Donald Tweedy, ''Manual of Harmonic Technique Based on the Practice of J. S. Bach'' (Philadelphia: Oliver Ditson Company, 1928), p. 7.</ref>
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| The subtonic appears in three forms: as the [[scale degree]], {{music|flat}}<math>\hat 7</math>, [[melody|melodically]] and as the chord {{music|flat}}VII in both {{music|flat}}VII-I cadence and in [[modulation (music)|modulations]] [[harmony|harmonically]].<ref>Allan Moore, "The So-Called 'Flattened Seventh' in Rock", p. 185, ''Popular Music'', Vol. 14, No. 2 (May, 1995), pp. 185-201.</ref> The word is also used as an English translation of ''subtonium'', the Latin term used in [[Gregorian mode|Gregorian chant theory]] for the similar usage of a tone one whole step below the mode final in the [[Dorian mode|Dorian]], [[Phrygian mode|Phrygian]], and [[Mixolydian mode]]s.<ref>Julian Rushton, "Subtonic", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (professor of music)|John Tyrrell]] (London: Macmillan Publishers, 2001); Harold C. Powers, "Subtonium", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001)</ref>
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| For example, in the A [[minor scale]] (white keys on a piano, starting on A), the subtonic is the note G (in C [[major scale|major]] this would be B{{music|flat}}); and the subtonic [[triad (music)|triad]] consists of the notes G, B, and D (in C: B{{music|flat}}-D-F). In [[music theory]], the subtonic chord is symbolized with the [[Roman numeral analysis|Roman numeral]] {{music|flat}}VII for a major triad built on the note, or {{music|flat}}vii for a minor triad; in a minor key, the [[Flat (music)|flat]] symbol is sometimes omitted by some theorists because the subtonic note appears in the natural minor scale, but the flat symbol is usually used for the major scale because the subtonic is a non-scale note.
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| [[File:BVII borrowed chord in C major.png|thumb|A I chord, C major, followed by a {{music|flat}}VII chord, B{{music|flat}} major, borrowed from the parallel minor, C minor, with the key signature of C major followed by C minor shown.]]
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| In [[jazz]], the flattened seventh is also used as a [[chord substitution|substitute]] for the [[dominant (music)|dominant]], V, especially in the [[Backdoor progression|Backdoor cadence]],<ref>Jerry Coker, ''Elements of the Jazz Language for the Developing Improvisor'' (Miami: CCP/Belwin, Inc, 1991), p. 82. ISBN 1-57623-875-X.</ref> ii-{{music|flat}}VII7-I, where the subtonic is used for the dominant seventh. {{music|flat}}VII is in this case a [[common chord (music)|pivot chord]] borrowed from the [[parallel key|parallel minor]] (its dominant seventh). [[Dominant seventh chord|V7]] and '''{{music|flat}}VII7''', the '''subtonic seventh chord''', have two [[common tone]]s, in C: GB'''DF''' and B{{music|flat}}'''DF'''A{{music|flat}}.
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| 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 music|rock]] a diatonic scalic leading tone (i.e., {{music|natural}}<math>\hat 7</math>-<math>\hat 1</math>) is often absent.<ref>Moore (1995), p.187.</ref> In popular music, rather than "departures" or "aberrant," the "use of the 'flattened' diatonic seventh scale degree...should not even be viewed as ''departures''<!--emphasis original-->".<ref>Moore (1995), p.186.</ref>
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| ==See also==
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| *[[♭VII-V7 cadence]]
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| ==Sources==
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| {{reflist}}
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| ==Further reading==
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| * Stell, Jason Travis. 2006. "The Flat-7th Degree in Tonal Music". PhD diss. Princeton: Princeton University.
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| {{degrees}}
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| [[Category:Diatonic functions]]
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| [[Category:Scale degrees|7]]
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| [[de:Doppelsubdominante]]
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| [[eo:Duobla subdominanto]]
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