{"id":829,"date":"2023-05-24T16:05:18","date_gmt":"2023-05-24T16:05:18","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chromatic-mediants\/"},"modified":"2025-08-18T22:15:46","modified_gmt":"2025-08-18T22:15:46","slug":"chromatic-mediants","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chromatic-mediants\/","title":{"raw":"Chromatic mediants","rendered":"Chromatic mediants"},"content":{"raw":"<div class=\"chromatic-mediants\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 38<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How to spell and identify the six [pb_glossary id=\"4161\"]chromatic mediant[\/pb_glossary] chords in relationship to any given tonic<\/li>\r\n \t<li>How to identify chromatic mediant chords in musical contexts, aurally and in score study<\/li>\r\n \t<li>How keys related by chromatic mediant relate to and differ from other key relationships we\u2019ve studied<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Chromatic mediants\"><\/a>Chromatic mediants<\/h1>\r\n<p class=\"import-Normal\">A [pb_glossary id=\"4161\"]chromatic mediant[\/pb_glossary] is any major or minor triad whose root is related to tonic by major or minor third, and which contains at least one chromatic note. To illustrate, Figure 38\u20111 shows the chromatic mediants related to C major.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 38\u20111. Six chromatic chords in relation to the C major triad<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108-1.png\" width=\"1485\" height=\"127\" alt=\"List of key areas and Roman numerals\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-38.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 38.1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Of these, four chords share the same quality and a common tone with the tonic triad, C major:<\/p>\r\n\r\n<ul>\r\n \t<li class=\"import-Normal\">A major (common tone is E)<\/li>\r\n \t<li class=\"import-Normal\">A[latex]\\flat[\/latex] major (common tone is C)<\/li>\r\n \t<li class=\"import-Normal\">E major (common tone is E)<\/li>\r\n \t<li class=\"import-Normal\">E[latex]\\flat[\/latex] major (common tone is G)<\/li>\r\n<\/ul>\r\nThe remaining two chords (in this case, A[latex]\\flat[\/latex] minor and E[latex]\\flat[\/latex] minor) are the other quality (in this case, minor) and have no tones in common with the tonic triad. Chromatic mediants often simply replace a diatonic mediant, as in Example 38\u20111.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 38\u20111. Repeating chord progression in Donna Summer, \u201cI Feel Love,\u201d 1:26\u20131:43<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109-1.png\" width=\"595\" height=\"250\" alt=\"image of Grand staff with four chords written in keyboard-style notation, realizing a progression in C major in Roman numerals: uppercase one, uppercase flat three, uppercase four, uppercase five\" class=\"alignnone\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.1.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4rS63BySQrdWuTswkkZ5iS?si=93ba2f42823c46e5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer and songwriter <strong>Donna Summer<\/strong> (1948\u20132012) by reading this <a class=\"rId211\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46619\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Brackett.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Example 38\u20112 uses chromatic mediant VI as a tonic substitute in a major key, which precedes the normative tonic in a repeating four-chord progression.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 38\u20112. Partial transcription of Bj\u00f6rk, \u201cLionsong,\u201d 0:33\u20130:59<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110-1.png\" width=\"865\" height=\"373\" alt=\"image of score with Roman numerals beneath the staff in F major: uppercase six, uppercase one, uppercase four, uppercase flat seven\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.2.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2hJgYSiWBbvk3zDOnYz2Cn?si=17e6e3ed3cd14138\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId212\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T70 Chromatic mediants: theory (7:42)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/E_Ovm50GAn4\r\n<p class=\"import-Normal\">This interactive video explains what chromatic mediants are and how to find the six chords related by chromatic mediant to any major or minor tonic chord.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1E2cXHtC0MRY7HAzTGpPRDzAXrYVNUj_1VFy9nIiTQFk\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Chromatic mediants slides<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 38-1 Chromatic mediants in context\"><\/a>EXERCISE 38-1 Chromatic mediants in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 38-1 Chromatic mediants in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<div class=\"chromatic-mediants\">\r\n<p class=\"import-Normal\">The following examples use [pb_glossary id=\"2750\"]shuttle[\/pb_glossary] progressions, connecting tonic with a chromatic mediant by common tone. Spell the chords and identify the common tone in the following examples. Select the right arrow over the image to view the answer.<\/p>\r\n<span>[h5p id=\"72\"]<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 38-1. Tori Amos, \u201cCrucify,\u201d 2:50\u20133:13<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.1-amos.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0W4BtjtJcS4G1WWgKo1XUD?si=f29a04ff64bc411f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American songwriter <strong>Tori Amos<\/strong> (b. 1963) by reading this <a class=\"rId213\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240039\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Lori Burns and Jada Watson.\r\n\r\n<\/div>\r\n<\/div>\r\nAlso in the key of B major, Worksheet examples 38-2 and 38-3 use the same chords (I and [latex]\\flat[\/latex]III). Spell the chords and identify the common tone between them.\r\n\r\n<span>[h5p id=\"73\"]<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 38-2. Radiohead, \u201cBackdrifts (Honeymoon is Over),\u201d 1:28\u20131:56<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.2-radiohead.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6CVdTDYoDbwYj4xn8u5Gha?si=602b64cf102a4262\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId214\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 38-3. Broken Bells, \u201cTrap Doors,\u201d 0:00\u20130:24<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.3-broken-bells.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4WvfcU7QCkI49HjUQckTqA?si=9a51f04575e14950\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 21st-century American indie rock duo <strong>Broken Bells<\/strong> by reading this last.fm <a class=\"rId215\" href=\"https:\/\/www.last.fm\/music\/Broken+Bells\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 38\u20116 uses tonic and VI built on \u201cle\u201d in the key of A major. Spell the chords and identify the common tone between them.<\/p>\r\n<span>[h5p id=\"74\"]<\/span>\r\n\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 38-4. Ratatat, \u201cTropicana,\u201d 0:13\u20130:34<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.4-ratatat.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5ovKMrenMOvhyEcMWmLnZj?si=0bef7e379d3741da\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Brooklyn-based electronic rock duo <strong>Ratatat<\/strong>\u00a0by reading <a class=\"rId216\" href=\"https:\/\/www.last.fm\/music\/Ratatat\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.1-Chromatic-mediants-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.1 Chromatic mediants in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/4Th4JR1bQnXothtytGhehQ?si=cbf0d6f4340b421b\" target=\"_blank\" rel=\"noopener\">Spotify playlist for chromatic mediants<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T71 Chromatic mediants: examples (11:30)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/Te5S3qXGMLQ\r\n<p class=\"import-Normal\">This video explores the use of chromatic mediants in six musical examples, including recordings by Donna Summer (Example 38-1), Bj\u00f6rk (Example 38-2), Tori Amos (Worksheet example 38-1), Radiohead (Worksheet example 38-2), Broken Bells (Worksheet example 38-3), and Ratatat (Worksheet example 38-4).<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1E2cXHtC0MRY7HAzTGpPRDzAXrYVNUj_1VFy9nIiTQFk\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Chromatic mediants slides<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Key relations\"><\/a>Key relations<\/h1>\r\n<p class=\"import-Normal\">Just as chromatic mediants may characterize relationships between chords within a key, they may also describe relationships between larger key areas.<\/p>\r\n<p class=\"import-Normal\">We have studied several different types of relationships between keys\u2014[pb_glossary id=\"1090\"]relative[\/pb_glossary] (and closely related), [pb_glossary id=\"3687\"]closely related[\/pb_glossary] (but not relative), [pb_glossary id=\"673\"]enharmonic[\/pb_glossary], [pb_glossary id=\"1030\"]parallel[\/pb_glossary], and [pb_glossary id=\"3688\"]distant[\/pb_glossary] key relations. We can now define another type of distant key relation, the [pb_glossary id=\"4161\"]chromatic mediant[\/pb_glossary] relationship. Whenever key areas are related by major or minor third and are not closely related keys, we consider this to be a chromatic mediant key relation. To help you conceptualize the six different key relations we have learned, Figure 38\u20112 offers a flowchart organizing them based on answering a few guiding questions.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 38\u20112. Key relations flowchart[footnote]I am grateful to Yihao Zhou who prepared this digital figure.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114-1.png\" width=\"1429\" height=\"924\" alt=\"image of key relations flow chart\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-38.2-screen-reader-friendly.pdf\">Figure 38.2 <\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 38-2 Chromatic mediant relations\"><\/a>EXERCISE 38-2 Chromatic mediant relations<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 38-2 Chromatic mediant relations<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">For each key, identify the six chromatic mediant relations. The first is done for you. The order in which you list the keys does not matter, and you may use enharmonically equivalent spellings, as desired.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115-1.png\" width=\"1660\" height=\"868\" alt=\"list of ten numbered keys, with six blanks following each key. 1) C major: A major, A-flat major, A-flat minor, E major, E-flat major, E-flat minor. 2) D minor, 3) F minor, 4) A-flat major, 5) F major, (6) G major, (7) B minor, (8) A minor, (9) B-flat major, (10) E minor.\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.2-Chromatic-mediant-relations.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.2 Chromatic mediant relations<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 38-3 Part writing with chromatic mediant\"><\/a>EXERCISE 38-3 Part writing with chromatic mediant<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 38-3 Part writing with chromatic mediant<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Given the starting pitches, realize the progression in four parts ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) and label the cadence.<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116-1.png\" width=\"1104\" height=\"489\" alt=\"image of Grand Staff with key signautre of five sharps, 2\/2 as time signature. First chord spelled as B2, D-sharp 4, F-sharp 4, B4. Roman numerals in B major beneath staff read: one, uppercase natural three, four, five\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.3-Part-writing-with-chromatic-mediant.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.3 Part writing with chromatic mediant<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 38-4 Key relations\"><\/a>EXERCISE 38-4 Key relations<\/h1>\r\n\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 38-4 Key relations<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study each key relationship and label it as one of the following:<\/p>\r\n\r\n<div>\r\n<p style=\"padding-left: 40px\">C \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Closely related (but not relative)<\/p>\r\n<p style=\"padding-left: 40px\">R \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Relative<\/p>\r\n<p style=\"padding-left: 40px\">P \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Parallel<\/p>\r\n<p style=\"padding-left: 40px\">D \u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Distantly related or foreign (but not parallel or chromatic mediant)<\/p>\r\n<p style=\"padding-left: 40px\">M \u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Chromatic mediant<\/p>\r\n<p style=\"padding-left: 40px\">E \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Enharmonic<\/p>\r\n&nbsp;\r\n\r\n<\/div>\r\n<div>\r\n\r\n1)\u00a0\u00a0\u00a0\u00a0 D major and F minor\r\n\r\n2)\u00a0\u00a0\u00a0\u00a0 E major and C[latex]\\sharp[\/latex] minor\r\n\r\n3)\u00a0\u00a0\u00a0\u00a0 G minor and C minor\r\n\r\n4)\u00a0\u00a0\u00a0\u00a0 A[latex]\\flat[\/latex] major and G[latex]\\sharp[\/latex] minor\r\n\r\n5)\u00a0\u00a0\u00a0\u00a0 C minor and E major\r\n\r\n6)\u00a0\u00a0\u00a0\u00a0 D minor and F major\r\n\r\n7)\u00a0\u00a0\u00a0\u00a0 E[latex]\\flat[\/latex] major and F minor\r\n\r\n8)\u00a0\u00a0\u00a0\u00a0 D[latex]\\flat[\/latex] major and C[latex]\\sharp[\/latex] major\r\n\r\n9)\u00a0\u00a0\u00a0\u00a0 F[latex]\\sharp[\/latex] minor and A major\r\n\r\n10)\u00a0 G major and D major\r\n\r\n11)\u00a0 A minor and F major\r\n\r\n12)\u00a0 B major and G major\r\n\r\n13)\u00a0 A[latex]\\sharp[\/latex] minor and B[latex]\\flat[\/latex] minor\r\n\r\n14)\u00a0 B[latex]\\flat[\/latex] major and G minor\r\n\r\n15)\u00a0 C major and C minor\r\n\r\n16)\u00a0 C[latex]\\sharp[\/latex] minor and E minor\r\n\r\n17)\u00a0 A[latex]\\flat[\/latex] major and D major\r\n\r\n18)\u00a0 D minor and D major\r\n\r\n19)\u00a0 E minor and G[latex]\\sharp[\/latex] minor\r\n\r\n20)\u00a0 F major and G minor\r\n\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.4-Key-relations.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.4 Key relations<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 38<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/mediants\/\" target=\"_blank\" rel=\"noopener\">Mark Gotham's chapter on mediants<\/a> (Open Music Theory)<\/p>\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"chromatic-mediants\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 38<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How to spell and identify the six <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_4161\">chromatic mediant<\/a> chords in relationship to any given tonic<\/li>\n<li>How to identify chromatic mediant chords in musical contexts, aurally and in score study<\/li>\n<li>How keys related by chromatic mediant relate to and differ from other key relationships we\u2019ve studied<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Chromatic mediants<\/h1>\n<p class=\"import-Normal\">A <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_4161\">chromatic mediant<\/a> is any major or minor triad whose root is related to tonic by major or minor third, and which contains at least one chromatic note. To illustrate, Figure 38\u20111 shows the chromatic mediants related to C major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 38\u20111. Six chromatic chords in relation to the C major triad<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108-1.png\" width=\"1485\" height=\"127\" alt=\"List of key areas and Roman numerals\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-38.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 38.1<\/a><\/div>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Of these, four chords share the same quality and a common tone with the tonic triad, C major:<\/p>\n<ul>\n<li class=\"import-Normal\">A major (common tone is E)<\/li>\n<li class=\"import-Normal\">A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (common tone is C)<\/li>\n<li class=\"import-Normal\">E major (common tone is E)<\/li>\n<li class=\"import-Normal\">E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major (common tone is G)<\/li>\n<\/ul>\n<p>The remaining two chords (in this case, A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> minor and E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> minor) are the other quality (in this case, minor) and have no tones in common with the tonic triad. Chromatic mediants often simply replace a diatonic mediant, as in Example 38\u20111.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 38\u20111. Repeating chord progression in Donna Summer, \u201cI Feel Love,\u201d 1:26\u20131:43<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109-1.png\" width=\"595\" height=\"250\" alt=\"image of Grand staff with four chords written in keyboard-style notation, realizing a progression in C major in Roman numerals: uppercase one, uppercase flat three, uppercase four, uppercase five\" class=\"alignnone\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-829-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4rS63BySQrdWuTswkkZ5iS?si=93ba2f42823c46e5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer and songwriter <strong>Donna Summer<\/strong> (1948\u20132012) by reading this <a class=\"rId211\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46619\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Brackett.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span style=\"font-size: 14pt\">Example 38\u20112 uses chromatic mediant VI as a tonic substitute in a major key, which precedes the normative tonic in a repeating four-chord progression.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 38\u20112. Partial transcription of Bj\u00f6rk, \u201cLionsong,\u201d 0:33\u20130:59<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110-1.png\" width=\"865\" height=\"373\" alt=\"image of score with Roman numerals beneath the staff in F major: uppercase six, uppercase one, uppercase four, uppercase flat seven\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-829-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-38.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2hJgYSiWBbvk3zDOnYz2Cn?si=17e6e3ed3cd14138\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId212\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T70 Chromatic mediants: theory (7:42)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T70 Chromatic Mediants: THEORY\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/E_Ovm50GAn4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video explains what chromatic mediants are and how to find the six chords related by chromatic mediant to any major or minor tonic chord.<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1E2cXHtC0MRY7HAzTGpPRDzAXrYVNUj_1VFy9nIiTQFk\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Chromatic mediants slides<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 38-1 Chromatic mediants in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 38-1 Chromatic mediants in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div class=\"chromatic-mediants\">\n<p class=\"import-Normal\">The following examples use <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_2750\">shuttle<\/a> progressions, connecting tonic with a chromatic mediant by common tone. Spell the chords and identify the common tone in the following examples. Select the right arrow over the image to view the answer.<\/p>\n<p><span><\/p>\n<div id=\"h5p-72\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-72\" class=\"h5p-iframe\" data-content-id=\"72\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 38-1\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 38-1. Tori Amos, \u201cCrucify,\u201d 2:50\u20133:13<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-829-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.1-amos.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.1-amos.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.1-amos.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0W4BtjtJcS4G1WWgKo1XUD?si=f29a04ff64bc411f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American songwriter <strong>Tori Amos<\/strong> (b. 1963) by reading this <a class=\"rId213\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240039\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Lori Burns and Jada Watson.<\/p>\n<\/div>\n<\/div>\n<p>Also in the key of B major, Worksheet examples 38-2 and 38-3 use the same chords (I and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>III). Spell the chords and identify the common tone between them.<\/p>\n<p><span><\/p>\n<div id=\"h5p-73\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-73\" class=\"h5p-iframe\" data-content-id=\"73\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 38-1 WE 38.2 and 38.3\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 38-2. Radiohead, \u201cBackdrifts (Honeymoon is Over),\u201d 1:28\u20131:56<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-829-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.2-radiohead.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.2-radiohead.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.2-radiohead.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6CVdTDYoDbwYj4xn8u5Gha?si=602b64cf102a4262\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId214\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 38-3. Broken Bells, \u201cTrap Doors,\u201d 0:00\u20130:24<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-829-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.3-broken-bells.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.3-broken-bells.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.3-broken-bells.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4WvfcU7QCkI49HjUQckTqA?si=9a51f04575e14950\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 21st-century American indie rock duo <strong>Broken Bells<\/strong> by reading this last.fm <a class=\"rId215\" href=\"https:\/\/www.last.fm\/music\/Broken+Bells\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 38\u20116 uses tonic and VI built on \u201cle\u201d in the key of A major. Spell the chords and identify the common tone between them.<\/p>\n<p><span><\/p>\n<div id=\"h5p-74\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-74\" class=\"h5p-iframe\" data-content-id=\"74\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 38-1 WE 38.4\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 38-4. Ratatat, \u201cTropicana,\u201d 0:13\u20130:34<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-829-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.4-ratatat.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.4-ratatat.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-38.4-ratatat.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5ovKMrenMOvhyEcMWmLnZj?si=0bef7e379d3741da\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Brooklyn-based electronic rock duo <strong>Ratatat<\/strong>\u00a0by reading <a class=\"rId216\" href=\"https:\/\/www.last.fm\/music\/Ratatat\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.1-Chromatic-mediants-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.1 Chromatic mediants in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/4Th4JR1bQnXothtytGhehQ?si=cbf0d6f4340b421b\" target=\"_blank\" rel=\"noopener\">Spotify playlist for chromatic mediants<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T71 Chromatic mediants: examples (11:30)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T71 Chromatic Mediants: EXAMPLES\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Te5S3qXGMLQ?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores the use of chromatic mediants in six musical examples, including recordings by Donna Summer (Example 38-1), Bj\u00f6rk (Example 38-2), Tori Amos (Worksheet example 38-1), Radiohead (Worksheet example 38-2), Broken Bells (Worksheet example 38-3), and Ratatat (Worksheet example 38-4).<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1E2cXHtC0MRY7HAzTGpPRDzAXrYVNUj_1VFy9nIiTQFk\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Chromatic mediants slides<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Key relations<\/h1>\n<p class=\"import-Normal\">Just as chromatic mediants may characterize relationships between chords within a key, they may also describe relationships between larger key areas.<\/p>\n<p class=\"import-Normal\">We have studied several different types of relationships between keys\u2014<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_1090\">relative<\/a> (and closely related), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_3687\">closely related<\/a> (but not relative), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_673\">enharmonic<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_1030\">parallel<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_3688\">distant<\/a> key relations. We can now define another type of distant key relation, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_4161\">chromatic mediant<\/a> relationship. Whenever key areas are related by major or minor third and are not closely related keys, we consider this to be a chromatic mediant key relation. To help you conceptualize the six different key relations we have learned, Figure 38\u20112 offers a flowchart organizing them based on answering a few guiding questions.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 38\u20112. Key relations flowchart<a class=\"footnote\" title=\"I am grateful to Yihao Zhou who prepared this digital figure.\" id=\"return-footnote-829-1\" href=\"#footnote-829-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114-1.png\" width=\"1429\" height=\"924\" alt=\"image of key relations flow chart\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-38.2-screen-reader-friendly.pdf\">Figure 38.2 <\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 38-2 Chromatic mediant relations<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 38-2 Chromatic mediant relations<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">For each key, identify the six chromatic mediant relations. The first is done for you. The order in which you list the keys does not matter, and you may use enharmonically equivalent spellings, as desired.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115-1.png\" width=\"1660\" height=\"868\" alt=\"list of ten numbered keys, with six blanks following each key. 1) C major: A major, A-flat major, A-flat minor, E major, E-flat major, E-flat minor. 2) D minor, 3) F minor, 4) A-flat major, 5) F major, (6) G major, (7) B minor, (8) A minor, (9) B-flat major, (10) E minor.\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.2-Chromatic-mediant-relations.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.2 Chromatic mediant relations<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 38-3 Part writing with chromatic mediant<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 38-3 Part writing with chromatic mediant<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Given the starting pitches, realize the progression in four parts (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_829_2799\">SATB<\/a>) and label the cadence.<\/p>\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image116-1.png\" width=\"1104\" height=\"489\" alt=\"image of Grand Staff with key signautre of five sharps, 2\/2 as time signature. First chord spelled as B2, D-sharp 4, F-sharp 4, B4. Roman numerals in B major beneath staff read: one, uppercase natural three, four, five\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.3-Part-writing-with-chromatic-mediant.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.3 Part writing with chromatic mediant<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 38-4 Key relations<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 38-4 Key relations<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study each key relationship and label it as one of the following:<\/p>\n<div>\n<p style=\"padding-left: 40px\">C \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Closely related (but not relative)<\/p>\n<p style=\"padding-left: 40px\">R \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Relative<\/p>\n<p style=\"padding-left: 40px\">P \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Parallel<\/p>\n<p style=\"padding-left: 40px\">D \u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Distantly related or foreign (but not parallel or chromatic mediant)<\/p>\n<p style=\"padding-left: 40px\">M \u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Chromatic mediant<\/p>\n<p style=\"padding-left: 40px\">E \u00a0\u00a0\u00a0\u00a0\u00a0 = \u00a0\u00a0\u00a0\u00a0\u00a0 Enharmonic<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div>\n<p>1)\u00a0\u00a0\u00a0\u00a0 D major and F minor<\/p>\n<p>2)\u00a0\u00a0\u00a0\u00a0 E major and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor<\/p>\n<p>3)\u00a0\u00a0\u00a0\u00a0 G minor and C minor<\/p>\n<p>4)\u00a0\u00a0\u00a0\u00a0 A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor<\/p>\n<p>5)\u00a0\u00a0\u00a0\u00a0 C minor and E major<\/p>\n<p>6)\u00a0\u00a0\u00a0\u00a0 D minor and F major<\/p>\n<p>7)\u00a0\u00a0\u00a0\u00a0 E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and F minor<\/p>\n<p>8)\u00a0\u00a0\u00a0\u00a0 D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major<\/p>\n<p>9)\u00a0\u00a0\u00a0\u00a0 F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor and A major<\/p>\n<p>10)\u00a0 G major and D major<\/p>\n<p>11)\u00a0 A minor and F major<\/p>\n<p>12)\u00a0 B major and G major<\/p>\n<p>13)\u00a0 A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor and B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> minor<\/p>\n<p>14)\u00a0 B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and G minor<\/p>\n<p>15)\u00a0 C major and C minor<\/p>\n<p>16)\u00a0 C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor and E minor<\/p>\n<p>17)\u00a0 A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and D major<\/p>\n<p>18)\u00a0 D minor and D major<\/p>\n<p>19)\u00a0 E minor and G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor<\/p>\n<p>20)\u00a0 F major and G minor<\/p>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex38.4-Key-relations.pdf\" target=\"_blank\" rel=\"noopener\">Ex38.4 Key relations<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 38<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/mediants\/\" target=\"_blank\" rel=\"noopener\">Mark Gotham&#8217;s chapter on mediants<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-829-1\">I am grateful to Yihao Zhou who prepared this digital figure. <a href=\"#return-footnote-829-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_829_4161\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_4161\"><div tabindex=\"-1\"><p>any major or minor triad whose root is related by major or minor third to tonic, and which contains at least one chromatic note; also refers to a key relationship in which the tonics are related by major or minor third and the keys are not closely related<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_829_2750\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_2750\"><div tabindex=\"-1\"><p>system of harmonic organization in which two chords alternate for the entirety of a recording or section of a recording<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_829_1090\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_1090\"><div tabindex=\"-1\"><p>the relationship between keys that have different tonics but share the same key signature<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_829_3687\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_3687\"><div tabindex=\"-1\"><p>type of key relationship in which the key signatures differ only up to one sharp or flat<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_829_673\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_673\"><div tabindex=\"-1\"><p>term describing the relationship of notes or chords that sound the same, but are spelled differently<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_829_1030\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_1030\"><div tabindex=\"-1\"><p>the relationship between keys that have the same tonic, but a different key signature<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_829_3688\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_3688\"><div tabindex=\"-1\"><p>type of key relationship in which the key signatures differ by more than one accidental<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_829_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_829_2799\"><div tabindex=\"-1\"><p>abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close 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