Tonicization or modulation to the mediant is quite common in pieces written in the minor mode and usually serves as the second theme group in sonata form since it is very easy to tonicize III in minor. For example, relative to the key of A minor, the key of C major is the mediant, and it often serves as a mid-way point between I and V (hence the name). The term mediant also refers to a relationship of musical keys. In harmonic minor scales and ascending melodic minor scales, the seventh scale degree is raised by a half step from the subtonic b7 to the leading tone natural 7, creating an augmented triad that is symbolized with the Roman numeral bIII+ (flat III augmented). In natural minor scales, the mediant is a major triad and is symbolized with the Roman numeral III. In major scales, the mediant chord is a minor triad and is symbolized with the Roman numeral iii. In Roman numeral analysis, the mediant chord can take several forms. On the other hand, in German theory derived from Hugo Riemann the mediant in major is considered the dominant parallel, Dp, and in minor the tonic parallel, tP. Thus, the third degree of a tonic triad is also the mediant iii note furthermore, the 5th degree of the submediant chord vi is also the mediant iii note. Schenkerian analysts consider the mediant (third scale degree) as an expansion or extension of the tonic since they are both common tones of the tonic chord. While the fifth scale degree is almost always a perfect fifth, the mediant can be a major or minor third. In the movable do solfège system, the mediant note is sung as mi. In music, the mediant ( Latin: to be in the middle ) is the third scale degree ( ) of a diatonic scale, being the note halfway between the tonic and the dominant. The scale and mediant triad in C major (top) and C minor (bottom).
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