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17b Lesson - Advanced mode mixture

Class discussion

Harmonizations demonstrated in class

Poor voice leading

Reasonable - Each line is independent.

Expanding beyond four voices

Advanced Mode Mixture

When can we use mode mixture chords?

  • when it functions
    • tonic
    • pre-dominant
    • dominant
    • functional substitution
    • passing
    • pedal

What modes can you borrow from?

  • any parallel mode
    • the key here is parallel; the tonic can not change

Example: Sample Mode Mixture

Chord Symbols: C - Bb - Fmaj7(#11) - D%7 - C

Progression: I - bVII - IVM7(#11) - ii%7 - I

  • the I, IVM7(#11), and V are from major
  • the bVI and ii%7 are from aeolian
    • borrowed chords still follow voice leading rules
    • that’s how they can sound functional in a key they don’t belong in

mere exposure effect: when you hear something enough times that it begins to sound good regardless

The iiø7 (Dø7) shares 3 of 4 tones with viio7 (fucntional substitution for the dominant, also a borrowed chord). This allows the ii%7 to function as the dominant because of voice leading. A bII7 has even more tendancy tones.

Mahler’s Symphony No. 2 Mvt. 1 is full of mode mixture.

Example: Mode Mixture or Non-Chord Tones

Chord Symbols: C - F/C - F-/C - C Soprano: C5 - C5 - C5 - C5 Alto: E4 - F4 - F4 - E4 Tenor: G3 - A3 - Ab3 - G3 Bass: C3 - C3 - C3 - C3 Progression: I - IV - iv - I

  • if the Ab in the iv is positioned as a passing tone, it may not even function as a iv.
  • the function of the IV - iv acts as pedal plagal motion.