V. Chromaticism
59
Brian Jarvis
Key Takeaways
- Modal mixture involves borrowing notes from the parallel key.
- Mixture is more common in major keys (borrowing from the parallel minor).
- Mixture changes the quality of a chord, but not its function.
- Mixture can be used in melodies, one or more chords, extended tonicizations, and modulations.
- Chords with lowered roots use a flat sign in front of the Roman numeral (e.g., ♭VI).
Modal mixture (or borrowing) is the harmonic technique of mixing the notes from the parallel major and natural-minor modes (e.g., C major and C minor). This results in changing the chord qualities and/or melodic “color” to achieve expressive effects not available in the main scale itself. In the majority of cases, this occurs in major-key pieces where notes from the parallel minor are borrowed; most of this chapter reflects that norm.
and provide a brief review of parallel minor scales and their associated solfège and scale degrees. Notice the three differences between the scales: mi/me [latex](\hat3/\downarrow\hat3)[/latex], la/le [latex](\hat6/\downarrow\hat6)[/latex], and ti/te [latex](\hat7/\downarrow\hat7)[/latex].https://musescore.com/user/32728834/scores/6223755/embed
https://musescore.com/user/32728834/scores/6223743/embed
Melody and Harmony
While these changes may only be reflected in a single melodic line to add color to a specific moment, quite often they have a pronounced harmonic effect. By borrowing notes from the parallel scale, the chord qualities change, as shown in
and :https://musescore.com/user/32728834/scores/6223761/embed
https://musescore.com/user/32728834/scores/6223765/embed
Common Progressions
Chords with le [latex](\downarrow\hat6)[/latex] only: iio6, ii∅7, and iv
As you might expect, not all of these modal mixture possibilities show up with equal frequency. Cadential predominant chords are common targets, and the chords in
below appear with some frequency in cadential progressions, each of which only borrows le [latex](\downarrow\hat6)[/latex] from the parallel minor key.https://musescore.com/user/32728834/scores/6223773/embed
Altering Chord Roots
Borrowing me [latex](\downarrow\hat3)[/latex] and te [latex](\downarrow\hat7)[/latex] is also common. These scale degrees generate the chords ♭VI, ♭III, and ♭VII (
). Notice that when the root of the chord is changed from its original position in the scale, an accidental is placed in front of the Roman numeral to signify this change. In this context, these accidentals do not literally indicate “flat” or “sharp,” but rather that the root is lowered (♭) or raised (♯) by a half step from how it usually appears in the scale.https://musescore.com/user/32728834/scores/6223780/embed
Tonic and Dominant
Using modal mixture with tonic and dominant chords is also possible (see extended tonicization or modulatory passage instead of a single instance of modal mixture.
). Changing from I to i is a common technique, but V to v is not as common. When v occurs in a ma