This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: image placement. Please help improve this article if you can; the talk page may contain suggestions. (January 2012)

File:Tonic parallel in C major.png

Tonic and submediant (tonic parallel) in C major: CM and Am chords  Play (help·info).

File:Submediant in C minor.png

Tonic and submediant in C minor: Cm and A♭M chords  Play (help·info).

File:Minor seventh chord on a vi7 in C.png

Minor seventh chord on a  Play (help·info). vi⁷ or submediant seventh chord in C major.

File:Descending thirds from mediant progression.png

Chord progression from the tonic to supertonic, resolving to the dominant^[1]  Play (help·info).

File:Wagner - Tannhauser, Zu dir wall'ich.png

Wagner - Tannhauser, Zu dir wall'ich^[1]  Play (help·info).

vi in I-vi-IV-V-I (50s progression) on C,  play (help·info)

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'.^[3] It is also the third factor of the subdominant (IV) triad.

In music theory, the submediant chord is symbolized by the Roman numeral VI if it is major or vi if it is minor.

For example, in the C major scale (white keys on a piano, starting on C), the submediant is the note A; and the submediant chord is A-minor consisting of the notes A, C, and E. Therefore, Am is the vi chord in the C major scale. Since the submediant is minor it may provide contrast with major chords, frequently in a sequence of descending thirds (I, vi, IV, ii | V in root position or first inversion).^[1] Further, in the A natural minor scale (same white keys, now starting on A), the submediant is the note F; and the submediant chord is F (or F-major) consisting of the notes F, A, and C. Therefore, F is the VI chord in the A (natural) minor scale.

File:Submediant in chain of fifths.png

Submediant in chain of fifths^[1]  Play (help·info).

The submediant is also in the same relationship to the supertonic as the supertonic is to the dominant, resulting in a descending series of perfect fifths known as an extended dominant relationship.^[1] See: predominant and circle progression.

File:Submediant voice leading.png

Submediant voice leading: the third may be doubled^[4] Play (help·info).

The submediant is usually preceded by the mediant, tonic, or dominant and succeeded by supertonic, dominant, or subdominant.^[5] The submediant function is easily explained in reference to jazz music, where it is used in the "ice cream change" or "Blues for Alice" progression, which moves from the tonic through the submediant on the way to the ubiquitous ii-V-I Jazz sequence (part of the cycle of fifths). The progression's consistency is amplified by the submediant's fifth-relationship above the supertonic. This submediant role—in which it essentially extends from the tonic as a way of passing to a subdominant (IV) or supertonic (II) harmony, is as common in popular and classical music as it is in jazz, or any other musical language related to Western European tonality.

Both vi⁶ and iii⁶ are weak and rarely independent, being either linear chords or with the third or sixth scale degree as a nonharmonic tone.^[6]

"Submediant" also refers to a relationship of musical keys. 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. Susan McClary says that modulation to the lowered submediant (in C: A♭) represents a dream-like state of escape.

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.

Chromatic submediants are, like all chromatic mediants, chords whose roots are related by a major third or minor third, contain one common tone, and share the same quality, i.e. major or minor. They may be altered chords.

File:VI7 in C minor.png

VI7 in C minor.  Play (help·info)

In rock and popular music, VI in minor often uses the chromatically lowered fifth scale degree as its seventh, VI7, for example as in Eric Clapton's clearly minor mode "I Shot The Sheriff".^[7] See: natural-minor system.

See also[link]

• Deceptive cadence

Sources[link]

Ignacio Gómez (born c. 1962; also known as "Nacho") is a Colombian journalist known for his high-risk reporting on organized crime, corruption, and paramilitary groups. In 2002, he was awarded the International Press Freedom Award of the Committee to Protect Journalists.

Background[link]

Gómez began working at El Espectador, a daily newspaper in Bogota, at the age of 24. The paper's editor-in-chief at the time was Guillermo Cano, who was a hero of Gómez.^[1] On 17 December 1986, only a few weeks after Gómez's hiring, Cano was assassinated outside the El Espectador's office by a man with a submachine gun, apparently in retaliation for his reporting on Pablo Escobar and other drug lords.^[1][2] In the 1980s and 1990s, Colombia had the highest rate of murders of reporters in the world, and over the next fourteen years, ten more El Espectador reporters would be murdered.^[3] Gómez later described the mood at El Espectador as "like having your gravestone tied around your neck".^[4]

Reporting[link]

In the late 1980s, Gómez continued Cano's mission of aggressively investigating Pablo Escobar's connections with the Colombian government, at one point publishing a list of properties in Medelin that the drug lord secretly owned.^[1] He also expanded his reporting into coverage of the conflict with far-right paramilitary groups, such as Carlos Castaño's Peasant Self-Defense Forces of Córdoba and Urabá (ACCU). In September 1988, he was forced to flee the country after a firebombing of El Espectador's offices believed to be a retaliation for his reporting, but he returned nine months later.^[1] In 1989 alone, he reported on 36 separate massacres.^[5]

In 1996, Gómez co-founded La Fundación para la Libertad de Prensa (English: "The Foundation for Press Freedom"; abbreviated "FLIP"), a non-profit organization to protect threatened journalists.^[1] He also served as the group's executive director until 2001.^[5]

Gómez is best known for his coverage of the Mapiripán massacre, a "five-day killing spree" in July 1997 in which Colombian Army officers colluded with the United Self-Defense Forces of Colombia (AUC) to kill at least 49 people in the village of Mapiripán suspected of being guerrilla sympathizers. The killers used machetes and chainsaws, dismembering the corpses and throwing the pieces into the river.^[6] When Gómez broke the story of the Army's involvement in February 2000, he received 56 threats in the next two months. On 24 May, a group of men attempted to abduct Gómez as he was entering a taxi in Bogota, but he escaped.^[7] The next day, Gómez's colleague Jineth Bedoya was kidnapped, tortured, and raped; her kidnappers told her that they "planned to cut Gómez into tiny pieces".^[5] Amnesty International also issued a statement of concern for his safety, describing his case as "a clear example of the campaign of terror Colombian journalists are increasingly subjected to".^[8]

On 1 June 2000, Gómez left the country, moving to Massachusetts, US, where he served for a year as a Nieman Fellow at Harvard University.^[9] He returned to Colombia in late 2001, becoming the Director of Investigations for the television news show Noticias Uno. After a report on links between presidential candidate Álvaro Uribe Vélez (who became President of Colombia later in the year) and the Medellín Cartel, Gómez was once again the target of death threats, along with news director Daniel Coronell and Coronell's three-year-old daughter,^[5] prompting Reporters Without Borders to issue of a statement of protest on their behalf.^[10]

On 24 May 2011, burglars tried to force their way into Gómez's home for the seventh time in ten years; noting the "sophisticated equipment" of the burglars, he attributed the attempted break-in to agents of Colombia's Administrative Department of Security.^[11]

Awards and recognition[link]

In addition to his 2001 Nieman Fellowship, Gómez was awarded the 2002 International Press Freedom Award of the Committee to Protect Journalists,^[5] "an annual recognition of courageous journalism".^[12] In the award citation, the CPJ praised Gómez's "exceptional commitment to truth and freedom".^[1] In 2010, Gómez's organization FLIP won the Missouri Honor Medal for Distinguished Service in Journalism, awarded by the Missouri School of Journalism.^[13]

References[link]