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SUBMEDIANT TRIAD
Basic Music (TC 12-41/ NAVEDTRA 10244) describes the spelling and quality of the submediant triad. It appears primarily in root position. In major keys the root (modal note) or third (tonal note) may be doubled. In minor keys the root is usually doubled because of the major quality of the triad.
 FIGURE 9.15: Submediant Triad
In minor, the third must be doubled when there is elision (VI to V#) or retrogression (V# to VI). Augmented melodic intervals, parallels, or large leaps occur if any other note is doubled.
 FIGURE 9.16: Submediant with Doubled Third in Minor
The Deceptive Cadence is a V to vi or V# to VI progression at a cadence point. It may occur at any cadence but final. The submediant triad replaces the tonic. The third of the submediant (tonic scale degree) is doubled. This cadence is followed by a chord that would normally follow the submediant,
 FIGURE 9.17: Deceptive Cadence
First inversion of the submediant triad occurs primarily as a tonic chord with resolved or unresolved appoggiatura.
 FIGURE 9.18: First Inversion Submediant as Appoggiatura
The chord may progress to a Group 2 chord from first inversion. It may also be used to create stepwise motion in the Bass Voice to a Group 1 chord (elision). The third is doubled in first inversion.
 FIGURE 9.19: First Inversion Submediant
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