"Submediant" also refers to a relationship of musical keys.

Similarly, the submediant is halfway between the tonic and subdominant.

It may be constructed by lowering the submediant of the mixolydian mode.

So that, that's called the submediant.

So its other constituents are the second, fourth, and flatted sixth (flat submediant) scale degrees.

Andante in F major (the flattened submediant of the work's main key, A major).

Note that the two power chords are a major third apart, if the first chord is the tonic the second is the minor submediant.

The dominant and subdominant anon are more stable than the submediant and the supertonic.

Er and then the submediant, because it lies halfway between the upper tonic the eighth note of the scale and the subdominant.

For example, relative to the key of C major, the key of A major (or A minor) is the submediant.

Modulation (change of key) to the submediant is relatively rare, compared with, for instance, modulation to the dominant, and gives a feeling of relaxation.

In C minor the relative key of F is Ab-major (or submediant of c) and abbreviated sP.

The coda begins with a long anticipatory passage which stresses A-flat, the submediant, and then reintroduces the first theme, gradually building up tension towards the fortissimo ending.

The recapitulation is traditional - staying in the tonic, and emphasizing the tonic minor and the flat submediant (F major) as subdominant tonalities.

A famous example of the Russian submediant occurs in the very opening bars of the third movement of Rimsky-Korsakov's Scheherezade.

The third variation shifts to E major, enharmonically the flat submediant, and the tempo shifts to a hymn-like adagio molto espressivo.

The submediant is usually preceded by the mediant, tonic, or dominant and succeeded by supertonic, dominant, or subdominant.

This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flattened submediant) in the eleventh bar.

Schubert's second theme (the B section of the rondo) indulges in a long harmonic and melodic excursion, going through the keys of the subdominant and flat submediant.

In music, the submediant is the sixth scale degree of the diatonic scale, the 'lower mediant' halfway between the tonic and the subdominant or 'lower dominant'.

This has the effect of driving the music forward as it creates the impression of being incomplete and unresolved, which it is, ending not on the tonic or dominant but on the submediant.

The penultimate variation recapitulates the theme after a contrasting section in the submediant, while the final variation restores the tonic and basic thematic material after an episode in the subdominant.

Also notable is that for most of Beethoven's C minor works, by far the most frequently occurring key for the slow movement is the submediant, A flat major, to provide a calm contrast.

In German theory derived from Hugo Riemann the submediant in major is considered the tonic parallel (US relative), Tp, and the minor the subdominant parallel, sP.

Its most common occurrence is built on the lowered submediant of the prevailing key, in which position the interval assumes a natural tendency to resolve by expanding to an octave built on the dominant tonal degree.