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Mode Mixture
I. Defined
A. Mode Mixture - the use of tones from one mode (major or minor) in a passage that
is primarily in the opposite mode.
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ing dissonance with the other pitches and is clearly an NCT, but in Example 12-5b the D5
forms no true dissonance with any other pitch.
MODE MIXTURE
II. Borrowed Chords in MinorExample 12-5
( )
1. Scale-degrees 3, 6, and
7.
possible
ant
ant
7 occur
in altered
2. Since scale-degrees
6
and
forms of the minor scale, only
of mode mixture.
B :
V
I
V
I
B. Tonic triad
An anticipation very much like the one in Example 12-5a appears in Example 12-6. No1. In minor the chord
borrowed from major (involving ^3) is the tonic triad.
tice that this excerpt ends with a major tonic triad. In the Baroque period it was not at all
uncommon to end a phrase or a composition in the minor mode in this way. Th is device,
2. Picardy Thirdknown
- theasuse
of thethird,
major
tonic further
triad in
a piece
the Picardy
is discussed
in Chapter
21. that is in minor mode.
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The idea of the Picardy third is sometimes used on a very large scale. For example,
Beethovens Symphony no. 5 begins in c minor, but the main key of the last movement is
C major.
MODE MIXTURE
The most frequently encountered examples of mode mixture in the major mode involve
III. Lowered Scale-degree 6 in Major
The ! 6
here refers to the lowered sixth scale degree. The accidental
chords that employ ! 6.
to be used in the music might be a " , a ! , or a ! ! , depending on the key signature, but we
A. The most common mode mixture involves the use of b6 from
the parallel
will refer to the lowered sixth scale degree as ! 6 in any case. Borrowing ! 6 from the parallel
minor
7, ii
minor creates four borrowed chords that are frequently used in major: vii
, ii;k 7, and iv.
C. Indicate mixture in analysis with RNs from the minor (i.e. use lower case).
Example 21-2
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MODE MIXTURE
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an inner voice, it forms the beginning of an important line begun in the first phrase and
completed in the second: F !E !D !F !E !D !C. Notice also the nice effect created by the
unusual ViiV in m. 15.
MODE MIXTURE
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The borrowed iv is frequently used in first inversion as part of a stepwise descending bass
line, as in Example 21-5. The imitation between soprano and tenor in mm. 4 to 5 and the
soaring tenor line in mm. 5 to 6 are among the many points to appreciate in this beautiful
phrase.
MODE MIXTURE
The borrowed iik 7 is probably used more often than the borrowed ii because of the added
direction provided by the 7th. Example 21-6 is typical.
iv - can be used freely. iv6 often used in chromatic descending bass line
56
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56
Example 21-6
DISC 2 : TRACK 11
56
56
350
Chapter Twenty-One
4
2
4
2
kos25141_Ch21PO5_346-370.indd 349
6
5
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4
2
4
3
6
4
7, iv, or ii
(k 7) moves down by half step to 5.
It is often also approached
In general, ! 6 in vii
"
The most frequently encountered examples of mode mixture in major are those chords
7. The next most common examples of mode
ii
that borrow only ! 6:
, iik 7, iv, and vii
MODE MIXTURE
7, iv, or ii
(k 7) moves down by half step to 5.
It is often also approached
In general, ! 6 in vii
A. i - less common than the use of I in minor, but can still be used.
The most frequently encountered examples of mode mixture in major are those chords
B. bVI
7, iv, and vii
7. The next most common examples of mode
ii
! 6:
that
borrow
only
,
iik
Example 21-7
If you have seen the fi lm 2001: A Space Odyssey (1968), you are already familiar with a famous instance of a minor tonic from the fi lms score, which makes use of Richard Strausss
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352
Chapter Twenty-One
D/i
D/TS
TS
P/i D/D
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5/16/12 7:12 AM
The !VII and ! III chords are by no means commonly encountered. The !VII, when it occurs, frequently functions as a V/! III, just as the same chord does in the minor mode. In
Example 21-9 the !III is preceded by its secondary dominant and followed by a borrowed
numerals.
DISC 2 : TRACK 12
353
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{ii}
{vii7 } V6%
V6%/bIII
{bVII}
bIII
vii6% V7
C :
V4 /V
2
bVII
V7
Saturday, May 7, 16
V4 /IV IV6
2
iv6
V7
V6
iv6
V7
iv6
OINT
MODE MIXTURE
Modulations Involving Mode Mixture and the Neapolitan
Borrowed chords and the Neapolitan may be used as common chords in modulation, a
procedure that may facilitate a modulation to a foreign key. If a passage in major slips into
6 tend to moveV.
the parallel
all the keys that are closely related to the parallel minor come within
and Modulations Involving
Modeminor,
Mixture
upTonicizations
or down?
easy reach. For example, as the chart below demonstrates, mixture in the key of F gives us
common uses of the Neapolitan chord.
access to five foreign keys: A ! , c, E ! , b ! , and D ! .
ubled in a N6 chord?
E
B. The use of borrowed chords may precede a modulation
d
F
mixture
f
A
g
D
C. Mode mixture allows more keys to be in reach for pivot
modulations.
Bchord
b
keys that are closely related to the parallel minor come within
Example
as the chart below demonstrates, mixture in the key of F gives
us 21-17
: A ! , c, E ! , b ! , and D ! .
DISC 2 : TRACK 15
a
d
C
F
B
mixture
f
b
A
D
l l l
#Maestoso
andante
l l l
# \
#
l l l
l l l
l
#
V l l 2 i6 V6% i l V l l
l l l l l
ab : i
PAC
(III)
inCbmajor
l l l
\
cresc.
cresc.
\
l l l
*
III
Maestoso andante
DISC 2 : TRACK 20
!
!
368
!
!
WoO stands for without opus, meaning a work to which Beethoven did not assign an opus number.
i Chapter Twenty-One
Mode Mixture and theV
Neapolitan I
vi IV
7
I
Cb: vi * WoO stands for without opus,iii
meaning a work to which Beethoven did not assign an opus number.
368
l l l
l l l
\
^[
cresc.
cresc.
\
^[
l l l
i V
enharmonic // minor! b: i
lll
l l l
\l l l
cresc.
\
cresc.
l l l
l l l
10
!
!
10
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15
!
!
15
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Dr. C. Ross
THE NEAPOLITAN
The Neapolitan Sixth Chord (bII6)
I. Defined
I. DESCRIPTION, PURPOSE, AND CONSTRUCTION
The N6 is identical in minor keys and their parallel majors, but note the difference in
accidentals: Decorates and chromatically intensifies diatonic progressions, usually in a
minor
(i) in minor
keyskey
it involves lowering 2 to b2 (together with the other usual notes of a ii triad), but
keys two accidentals are necessary: (a) 2 to b2 , and (b) 6 to b6 :
(ii) in major
(i)
bb b w
b
ww w !
&
N6
c:
(ii)
b ww
b
& ww !
N6
C:
(bII6)
(bII6)
II. FUNCTION
The N6 chord (bII6) functions in the same way as a diatonic ii (in Major) or ii (in minor) chord,
which means it is a pre-dominant class chord. Thus, it usually goes to:
i) some form of V (including the cadential 46 ), but
ii) it may also move to a secondary dominant-function chord further intensifying the approach
to the dominant. In this case, vii7 of V seems to have been preferred over V6/5 of V, which can sound
rather harsh. Play the two examples below and ask yourself if the second sounds any harsher to your
ears. If so, what do you think might cause this harsher quality?
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bb b
b
l&
l
..
l
l
!
! or
bb b n .
b
l . !
l&
l
l
!?
6
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b2 #7
Saturday, May 7, 16
b2
#7
b2
b2
E. NOTE: if b2 is not in the Soprano, watch out for parallel 5ths with b6!
b2
Saturday, May 7, 16
from A3 to E4 to provide the 3rd for the i 4 chord. The textural reduction brings out the
Example 21-12
DISC 2 : TRACK 13
c#:
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V4
i6
bii6
V6$-_ 5
In Example 21-13 the Neapolitan appears in a more complicated keyboard texture. (The
clarinet is in B ! , sounding a M2 lower than written.) The ! 2 in m. 8 appears in both hands;
the G ! in the right hand moves down to E " , as expected, but the G ! in the left hand moves
up chromatically to G. Notice how the melodic G ! in m. 4 foreshadoes the N6 to come.
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Example 21-13
DISC 2 : TRACK 13
6
5
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The N6 chord occurs occasionally in popular music as well. Example 21-14, a theme from
a fi lm score, ends with a circle-of-fift hs progression: iv(7)VII 7III (M7)VIN6 V 7i. The
Saturday, May 7, 16
Both a V 7/N and a root position Neapolitan occur in Example 21-15. Notice the tritone
leap in the bass between the N and V chords. The textural reduction clarifies the sequence
in mm. 13-16.
Example 21-15
DISC 2 : TRACK 14
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5/16/12 7:12 AM
In Example 21-16 Verdi uses the N in a major key (and in root position). However, he does
prepare for the N by using mode mixture in the previous two measures. (Only the main
chords are analyzed in the first five measures.)
Example 21-16
DISC 2 : TRACK 15
An earlier excerpt from popular music, Example 7-6 (p. 98), also used a root position N,
this time in a long circle-of-fift hs progression: ivVIIIIIVINVi. (Compare that progression to the one in Example 21-14, discussed earlier.)
Saturday, May 7, 16
A Neapolitan chord is used as the common chord in Example 21-18. The excerpt begins in
A and ends in a ! (although neither key signature agrees with that analysis). The I6 chord
in A before the double bar is enharmonically the same as a B !! major triad, which is the
Neapolitan in a ! . It then moves normally to i64 V in a ! .
Example 21-18
DISC 2 : TRACK 16
Mode mixture in the new key is often employed as a signal to the listener that a modulation is taking place. In Example 21-19 a modulation from f to E ! occurs. In m. 5 Beethoven
uses an f minor chord, which is the common chord linking the two keys. The f k 7 chord
that follows announces the modulation to the listener because this chord is a very unlikely
one in the key of f. (The Ger!6 chord in m. 3 is discussed in Chapter 22.)
Example 21-19
Saturday, May 7,DISC
16 2 : TRACK 16
A:
I6$
bii6
DNP
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V7
I6$
V7
i6$
V7
i6$