minor subdominant

Through the whole system, in the progression of major scales with sharps and minor scales with flats, the new sharp is applied to the middle of the major dominants, and the new flat to the middle of the minor subdominants. In the progression of major scales with flats and minor scales with sharps, the new flat is applied to the root of the major subdominant, and the new sharp to the top of the minor dominant.2 [Scientific Basis and Build of Music, page 43]

There are two Diatonic systems in Music - the major and the minor. With the exception of one note, all the notes of the one system are identical with those of the other. The major key C has all the notes of the minor key A excepting D, the root of the minor subdominant; and the minor has all the notes of the major exception D, the top of the major dominant. These twain are one music, the masculine and feminine of a twofold unity; one system in duality rather than two systems. [Scientific Basis and Build of Music, page 50]

common, to mingle with more chord-society. So those added thirds which constitute compound chords are like accomplishments acquired for this end, and they make such chords exceedingly interesting. The dominant assumes the root of the subdominant, and so becomes the dominant seventh that it may be affiliated with the subdominant chords. Inversely, the subdominant assumes the top of the dominant chord that it may be affiliated with the dominant. The major tonic may exceptionally be compounded with the top of the minor subdominant when it comes between that chord and its own dominant; and the minor tonic may in the same way assume the root of the major dominant when it comes between that chord and its subdominant. The minor subdominant D F A, and the major dominant G B D, are too great strangers to affiliate without some chord to introduce them; they seem to have one note in common, indeed, but we know that even these two D's are a comma apart, although one piano-key plays them both, and the F G and the A B are as foreign to each other as two seconds can be, each pair being 9 commas apart, and G A are 8 commas apart. In this case, as a matter of musical courtesy, the tonic chord comes in between; and when it is the minor subdominant that is to be introduced, the major tonic assumes the top of that chord, and then turns to its own major dominant and suavely gives the two to enter into fellowship; for the tonic received the minor subdominant through its semitonic E F, and carries it to the major dominant through its semitonic B C, along with C in common on the one side and G in common on the other. When it is the major dominant that is to be introduced to the minor subdominant the minor tonic fulfills the function, only the details are all reversed; it assumes the root of dominant, and by this note in common, and its A in common with its own subdominant, along with the semitonic second B C on the one hand and the semitonic E F on the other, all is made smooth and continuous. The whole of this mediatorial intervention on the part of the tonic is under the wondrous law of assimilation, which is the law of laws all through creation; but when the tonic chord has fulfilled this graceful action, it immediately drops the assumed note, and closes the cadence in its own simple form.1 [Scientific Basis and Build of Music, page 71]

At the first, in the laws of quantities and motions adjusting musical vibrations, there is one chord of the three notes, F, A, C, the root, middle, and top of the five notes which compose the true natural scale; this one chord can be reproduced a fifth higher, C, E, G, in the same mathematical form, taking the top of the first for the root of the second chord. In like manner this second can be reproduced another fifth higher, G, B, D, still in the same mathematical form, and so fit to be a member of the chord-scale of a key. But the law does not admit of another reproduction without interfering with the first chord, so that a fourth fifth produces no new effect; but the whole key is simply a fifth higher, i.e., if the fourth fifth has been properly produced by multiplying the top of the third fifth by 3 and by 5, the generating primes in music. That this carries us into a new scale is seen in that the F is no longer the F♮ but F#, and the A is no longer A♮ but A,. But if we suppose the fourth fifth to be simply the old notes with their own vibration numbers, then D, F, A would not be a fifth belonging either to the major or the minor mode, but a fifth a comma less. The letters of it would read like the minor subdominant, D, F, A; but the intervals, as found in the upward development of the major genesis, instead of being, when expressed in commas, 9, 5, 8, 9, which is the minor subdominant, would be 8, 5, 9, 8, which is not a fifth of the musical system; these having always, whether major or minor, two 9's, one [Scientific Basis and Build of Music, page 77]

See Also

major subdominant
root of the minor subdominant
root of the subdominant minor

Created by Dale Pond. Last Modification: Saturday November 21, 2020 05:39:06 MST by Dale Pond.