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    Chromatic Mediant

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    VictorSmerk
    The document discusses chromatic mediants, which are chords whose roots are related by a major or minor third. Chromatic mediants contain one common tone and share the same quality of being major or minor. They were rarely used in the Baroque and classical periods but became more common during the Romantic period. Chromatic mediants usually prolong the tonic harmony and can proceed from or to the tonic or dominant chords.

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    Chromatic Mediant

    Uploaded by

    VictorSmerk
    458 views2 pages
    The document discusses chromatic mediants, which are chords whose roots are related by a major or minor third. Chromatic mediants contain one common tone and share the same quality of being major or minor. They were rarely used in the Baroque and classical periods but became more common during the Romantic period. Chromatic mediants usually prolong the tonic harmony and can proceed from or to the tonic or dominant chords.

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    Chromatic mediant. mediante cromática musica teoria musical music theory

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    Chromatic mediant.docx

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    The document discusses chromatic mediants, which are chords whose roots are related by a major or minor third. Chromatic mediants contain one common tone and share the same quality of being major or minor. They were rarely used in the Baroque and classical periods but became more common during the Romantic period. Chromatic mediants usually prolong the tonic harmony and can proceed from or to the tonic or dominant chords.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    458 views2 pages

    Chromatic Mediant

    Uploaded by

    VictorSmerk
    The document discusses chromatic mediants, which are chords whose roots are related by a major or minor third. Chromatic mediants contain one common tone and share the same quality of being major or minor. They were rarely used in the Baroque and classical periods but became more common during the Romantic period. Chromatic mediants usually prolong the tonic harmony and can proceed from or to the tonic or dominant chords.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 2

    Chromatic mediant

    From Wikipedia, the free encyclopedia

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    Chromatic mediants in C major and a minor.


    In music, chromatic mediants, "are altered mediant and submediant chords."[1] A
    chromatic mediant relationship is a relationship between two sections and/or chords
    whose roots are related by a major third or minor third, contain one common tone, or
    share the same quality, i.e. major or minor. For example, in the key of C major the
    diatonic mediant and submediant are E minor and A minor. Their parallel majors are E
    major and A major. The mediants of the parallel minor of C major (C minor) are E
    major and A major, and their parallel minors are E minor and A minor, totaling six
    chromatic mediants for that key. Thus an E major chord is one of six chromatic mediant
    chords in C major and the keys of C major and E major share a chromatic mediant
    relationship.
    Chromatic mediants are usually in root position, may appear in either major or minor
    keys, usually provide color and interest while prolonging the tonic harmony, proceed
    from and to the tonic or less often the dominant, sometimes are preceded or followed by
    their own secondary dominants, or sometimes create a complete modulation.[1]
    Some chromatic mediants are equivalent to altered chords, for example VI is also a
    borrowed chord from the parallel minor, VI is also a secondary dominant of ii (V/ii),
    and III is V/vi, with context and analysis revealing the distinction.[1]

    Chromatic mediant from Tchaikovsky's Chant sans paroles, op. 2, no. 3, mm. 43-45
    Play (helpinfo). Note VI in root position and the repeated return to I (D and F,
    respectively), characteristic of chromatic mediant root movement.[1]
    Chromatic mediant chords were rarely used during the baroque and classical periods,
    though the chromatic mediant relationship was occasionally found between sections, but
    the chords and relationships became much more common during the romantic period.[1]

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