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In music, the subtonic is the scale degree below the tonic or, more specifically, the flattened seventh (VII): the lowered or minor seventh degree of the scale, a whole step below the tonic, as opposed to the leading tone, which is only a half step below the tonic.〔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.〕 The distinction between leading tone and subtonic has been made by theorists since at least the second quarter of the 20th century.〔Donald Tweedy, ''Manual of Harmonic Technique Based on the Practice of J. S. Bach'' (Philadelphia: Oliver Ditson Company, 1928), p. 7.〕 The subtonic appears in three forms: as the scale degree, , melodically and as the chord VII in both VII-I cadence and in modulations harmonically.〔Allan Moore, "The So-Called 'Flattened Seventh' in Rock", p. 185, ''Popular Music'', Vol. 14, No. 2 (May, 1995), pp. 185-201.〕 The word is also used as an English translation of ''subtonium'', the Latin term used in Gregorian chant theory for the similar usage of a tone one whole step below the mode final in the Dorian, Phrygian, and Mixolydian modes.〔Julian Rushton, "Subtonic", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and 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)〕 For example, in the A minor scale (white keys on a piano, starting on A), the subtonic is the note G (in C major this would be B); and the subtonic triad consists of the notes G, B, and D (in C: B-D-F). In music theory, the subtonic chord is symbolized with the Roman numeral VII for a major triad built on the note, or vii for a minor triad; in a minor key, the 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. In jazz, the flattened seventh is also used as a substitute for the dominant, V, especially in the Backdoor cadence,〔Jerry Coker, ''Elements of the Jazz Language for the Developing Improvisor'' (Miami: CCP/Belwin, Inc, 1991), p. 82. ISBN 1-57623-875-X.〕 ii-VII7-I, where the subtonic is used for the dominant seventh. VII is in this case a pivot chord borrowed from the parallel minor (its dominant seventh). V7 and VII7, the subtonic seventh chord, have two common tones, in C: GBDF and BDFA. 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.〔Moore (1995), p.187.〕 In popular music, rather than "departures" or "aberrant," the "use of the 'flattened' diatonic seventh scale degree...should not even be viewed as ''departures''".〔Moore (1995), p.186.〕 ==See also== * 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Subtonic」の詳細全文を読む スポンサード リンク
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