25 Royalty-Free Audio Tracks for "Mediant"

♭III-V7 cadence in C.

♭III-V7 cadence with resolution in C.

Diatonic mediant/submediant chord progression: I iii I (mediant, in major).

Diatonic mediant/submediant chord progression: I vi I (submediant, in major).

Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).

C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.

♭III+ chord in just intonation. Pitch bend matches intervals.

III+7M chord in C minor.

Minor seventh chord on e iii7 in C.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-VI-I.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-III-I.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-♭vi-I.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-♭III-I.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: i-♯VI-i.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: i-♯iii-i.

Chromatic mediant, A♭ (♭VI), in Brahms Op.90, II, mm.128-134.

Chromatic mediant from Tchaikovsky's (1840–1893) Chant sans paroles.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

Predominant chord: ♭III+63.

Common-tone modulation between chromatic mediants in Mozart's K. 475, mm. 24-26.

Subtonic as secondary dominant to the mediant in minor from Brahms Op.76.7, Eight Pieces, for piano (1878).

Bridge chord, named after en:Frank Bridge. Major chord with a minor chord a semitone above. Chord pictured followed by arpeggio with Db minor at the octave.

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

An example of how the subtonic serves as a secondary dominant to the mediant (in A minor: G is the dominant of C). From Bach's Chorale Ach wie flüchtig, ach wie nichtig, BWV 26. It is a reduction of the opening of the "Choral" or sixth movement.