{"id":844,"date":"2023-05-24T16:05:42","date_gmt":"2023-05-24T16:05:42","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/mode-mixture\/"},"modified":"2025-08-18T22:18:56","modified_gmt":"2025-08-18T22:18:56","slug":"mode-mixture","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/mode-mixture\/","title":{"raw":"Mode mixture","rendered":"Mode mixture"},"content":{"raw":"<div class=\"mode-mixture\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 40<\/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 identify [pb_glossary id=\"4286\"]borrowed chords[\/pb_glossary] and other instances of [pb_glossary id=\"4287\"]mode mixture[\/pb_glossary] in musical contexts, aurally and visually in musical notation<\/li>\r\n \t<li>How to spell borrowed chords<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Mode mixture\"><\/a>Mode mixture<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4287\"]Mode mixture[\/pb_glossary] refers to the use of [pb_glossary id=\"346\"]chromatic[\/pb_glossary] chords that exist [pb_glossary id=\"345\"]diatonically[\/pb_glossary] in the [pb_glossary id=\"1030\"]parallel[\/pb_glossary] major or minor mode. You may already be familiar with mode mixture in a handful of situations, such as the Picardy third (the major tonic chord at a cadence in a piece that is otherwise in a minor key) and the major dominant chord (V) in a minor key.<\/p>\r\n<p class=\"import-Normal\">Mode mixture can occur at various levels in music. On a local level, individual chords may be borrowed from the parallel minor or major mode. We call these instances [pb_glossary id=\"4286\"]borrowed chords[\/pb_glossary]. <span>Sometimes more material is based on the parallel major or minor: a group of chords, or even an entire phrase or section of music.<\/span> Figure 40\u20111 outlines the possible diatonic and borrowed chords in major and minor keys.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 40\u20111. Diatonic and borrowed chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-1024x740.png\" alt=\"image of chart\" width=\"1024\" height=\"740\" class=\"alignnone size-large wp-image-4334\" \/><\/a><span style=\"font-size: 1rem\"><\/span>\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-40.1-for-screen-reader.pdf\" target=\"_blank\" rel=\"noopener\">Figure 40.1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Of all possibilities, borrowed [pb_glossary id=\"4977\"]predominant[\/pb_glossary] chords are by far the most common (iio, ii\u00f87, and iv) usually found in a major key, borrowing from the [pb_glossary id=\"1030\"]parallel[\/pb_glossary] minor. These add a special color and marked pathos to chord progressions in major keys that would otherwise sound ordinary.<\/p>\r\n\r\n<h1><a id=\"Examples of borrowed chords\"><\/a>Examples of borrowed chords<\/h1>\r\n<p class=\"import-Normal\">Example 40\u20111, in a major key, uses one of the most common predominant borrowed chords, the borrowed subdominant triad from the parallel minor mode. In the fourth measure of the first phrase (0:09\u20130:22), the melody is harmonized with a diatonic subdominant chord (B[latex]\\flat[\/latex] major in the key of F major). The melody appears again later in 0:48\u20131:02, but now re-harmonized. Notice the borrowed subdominant (B[latex]\\flat[\/latex] minor) in the fourth measure of the re-harmonization.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 40\u20111. Annotated transcription of Richard Rodgers and Oscar Hammerstein II, \u201cEdelweiss\u201d from <em>The Sound of Music<\/em>, as performed on the Original Broadway Cast Recording, 0:09\u20130:22 and 0:48\u20131:02<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-1024x331.png\" alt=\"image of annotated score\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-4344\" \/><\/a>\r\n\r\nAudio for 0:09\u20130:22\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1a.mp3\"][\/audio]\r\n\r\nAudio for 0:48\u20131:02\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1b.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6a9HlJUZAXTGcuD3QlbTsS?si=3fa59c41a1d8445b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American composer <strong>Richard<\/strong><strong> Rodgers<\/strong> (1902\u20131979) by reading this <a class=\"rId238\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.23644\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Geoffrey Block.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 40\u20112, also in a major key, uses the borrowed supertonic seventh chord, another common borrowed predominant. The German text of this passage translates in English to \"I bear no grudge, even though my heart breaks.\" We hear the expressive borrowed ii\u00f87 on the word \"Herz,\" which means \"heart\" in German.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 40\u20112. Robert Schumann, \u201cIch grolle nicht\u201d from <em>Dichterliebe<\/em>, mm. 1\u20134<\/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\/image127.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image127.png\" alt=\"image of annotated score with Roman numerals labeled in C major: uppercase one, uppercase four-six, uppercase four, two half-diminished seven, five-seven, one\" width=\"1333\" height=\"499\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.2.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Dietrich Fischer-Dieskau, on <a href=\"https:\/\/open.spotify.com\/track\/53y7yslD2qx6D5BjLYoF8C?si=f9fb7875c86f449a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId239\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 40\u20113 presents a compelling borrowed subdominant chord in the key of E[latex]\\flat[\/latex] major. In this excerpt, the borrowed minor iv (A[latex]\\flat[\/latex] minor) harmonizes the words \u201cnothing really matters\u201d in an otherwise major key context.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 40\u20113. Queen, \u201cBohemian Rhapsody,\u201d 1:29\u20131:47<\/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\/Example-40.3.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6l8GvAyoUZwWDgF1e4822w?si=367d4b40ba354339\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century English rock band <strong>Queen <\/strong>fronted by <strong>Freddie Mercury <\/strong>(1946\u20131991) by reading this <a class=\"rId240\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.47723\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Laing.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 40\u20114 uses a repeating [pb_glossary id=\"2738\"]chord loop[\/pb_glossary] that features two chromatic chords. The repeating progression throughout the recording is G major \u2013 B major \u2013 C major \u2013 C minor. The final chord (C minor) is the borrowed minor subdominant chord (iv) in the overall key of G major. The B major chord is also chromatic, and it functions as a secondary dominant (V\/vi) that resolves deceptively (VI\/vi). It is also a chromatic mediant in relationship to the tonic triad.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 40\u20114. Radiohead, \u201cCreep,\u201d 0:00\u20130:23<\/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\/Example-40.4-Creep.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6b2oQwSGFkzsMtQruIWm2p?si=4ec6b86ef2524944\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId241\" 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--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T73 Mode mixture and borrowed chords (12:51)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/H1bUhqpjDwY?si=TM3R7RnqwcgJagA-\r\n<p class=\"import-Normal\">This video explores the concept of [pb_glossary id=\"4287\"]mode mixture[\/pb_glossary] and identifies [pb_glossary id=\"4286\"]borrowed chords[\/pb_glossary] in music by Rodgers and Hammerstein, Robert Schumann, Queen, and Radiohead (Examples 40-1, 40-2, 40-3, and 40-4).<\/p>\r\n\r\n<div class=\"textbox shaded\">Access a slideshow with the examples from this video here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/13PbCR1DMP9kPJxMBpiIXI1AZErphKV9Ho6ytDErV8Sw\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Mode mixture slides<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a class=\"rId243\" href=\"https:\/\/open.spotify.com\/playlist\/5PRZVxPxr9yBOSVQIHoAFA?si=a2c14cc254d94135\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for mode mixture<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 40-1 Chord spelling\"><\/a>EXERCISE 40-1 Chord spelling<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 40-1 Chord spelling<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Provide the key signature for each of the specified keys below. Then, given the Roman numerals, spell each of the chords in the specified keys, using accidentals if needed. Finally, indicate whether the chord is (1) [pb_glossary id=\"4286\"]borrowed[\/pb_glossary], and\/or (2) a [pb_glossary id=\"4161\"]chromatic mediant[\/pb_glossary] by checking the appropriate boxes below the staff. Some chords may not be either; others may be both.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image128.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image128.png\" alt=\"Image of three sets of chords to spell on bass clef staves\" width=\"1431\" height=\"1274\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex40.1-Chord-spelling-for-screen-reader.pdf\" target=\"_blank\" rel=\"noopener\">Ex40.1 Chord spelling<\/a><\/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\/Ex40.1-Chord-spelling.pdf\" target=\"_blank\" rel=\"noopener\">Ex40.1 Chord spelling<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 40-2 Analysis with borrowed chords\"><\/a>EXERCISE 40-2 Analysis with borrowed chords<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 40-2 Analysis with borrowed chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. After studying and listening to the following excerpt, identify the key, then provide a Roman numeral analysis on the blanks provided. Circle the Roman numeral of all [pb_glossary id=\"4286\"]borrowed chords[\/pb_glossary]. Circle and label all [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary], and answer these questions:<\/p>\r\n\r\n<ul>\r\n \t<li>Assuming there are two four-bar phrases in this piece, what term(s) best characterize the overall form of the excerpt and why?<\/li>\r\n \t<li>What kind of [pb_glossary id=\"4662\"]six-four chord[\/pb_glossary] appears in this excerpt?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 40\u20111. Traditional, \u201cCareless Love\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-1024x805.png\" alt=\"image of score with blanks beneath staff for key and Roman numeral labels.\" width=\"1024\" height=\"805\" class=\"alignnone wp-image-4365 size-large\" \/><\/a>\r\n<p class=\"p1\">Listen to a recording of this example, performed by Bessie Smith, on <a href=\"https:\/\/open.spotify.com\/track\/0rUf1j43orpfi6f4LbVo8D?si=7d01da3b02414481\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.[footnote]This recording uses a varied harmonization of the tune, but still features the striking borrowed chord.[\/footnote]<\/p>\r\nLearn more about American singer <strong>Bessie Smith<\/strong> (1894\u20131937), by reading this <a href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000315175\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Michael Meckna and revised by Richard Bernas.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART B. Study and listen to the following excerpts and read the English translation of the text (poetry by <span class=\"import-st\">Friedrich <\/span><span class=\"import-st\">R\u00fcckert)<\/span> beneath each excerpt. Then identify the key and provide a Roman numeral analysis for mm. 8\u201315 and mm. 54\u201365 on the blanks provided. Circle the Roman numeral of all borrowed chords. Circle and label all non-chord tones. Finally, compare the two passages (mm. 8\u201315 and mm. 54\u201365), and in several sentences, explain how these passages are related, especially with regard to harmony and chromaticism and the text of the song.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 40\u20112. Franz Schubert, op. 59, no. 3, \"Du bist die Ruh,\" mm. 1\u201317<\/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\/image130.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image130.png\" alt=\"image of score with blanks beneath staff for key and Roman numeral labels. Text beneath excerpt reads in German: Du bist die Ruh, der Friede mild, die Sehnsucht du und was sie stillt. In English: You are peace, the mild peace, you are longing and what stills it.\" width=\"1351\" height=\"1569\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.2.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track, performed by soprano Barbara Bonney, on <a href=\"https:\/\/open.spotify.com\/track\/27K996qPlCcnWSxr3zkDg6?si=587b7fcc1d524953\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId242\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\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 40\u20113. Franz Schubert, op. 59, no. 3, \"Du bist die Ruh,\" mm. 53\u201365<\/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\/image131-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image131-1.png\" alt=\"image of score with blanks beneath staff for Roman numeral labels. Text beneath excerpt reads in German: Dies Augenzelt von dienem Glanz allein erhelt, o f\u00fcll es ganz! In English: The tabernacle of my eyes by your radiance alone is illuminated, o fill it completely!\" width=\"1349\" height=\"1269\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.3.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track, performed by soprano Barbara Bonney, on <a href=\"https:\/\/open.spotify.com\/track\/27K996qPlCcnWSxr3zkDg6?si=587b7fcc1d524953\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId242\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\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\/06\/Ex40.2-Analysis-with-borrowed-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex40.2 Analysis with borrowed chords<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId243\" href=\"https:\/\/open.spotify.com\/playlist\/5PRZVxPxr9yBOSVQIHoAFA?si=a2c14cc254d94135\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for mode mixture<\/span><\/a><\/div>\r\n<\/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 40<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<div><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/modal-mixture\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis's chapter on mode mixture<\/a> (Open Music Theory)<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"mode-mixture\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 40<\/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 identify <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4286\">borrowed chords<\/a> and other instances of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4287\">mode mixture<\/a> in musical contexts, aurally and visually in musical notation<\/li>\n<li>How to spell borrowed chords<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Mode mixture<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4287\">Mode mixture<\/a> refers to the use of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_346\">chromatic<\/a> chords that exist <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_345\">diatonically<\/a> in the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_1030\">parallel<\/a> major or minor mode. You may already be familiar with mode mixture in a handful of situations, such as the Picardy third (the major tonic chord at a cadence in a piece that is otherwise in a minor key) and the major dominant chord (V) in a minor key.<\/p>\n<p class=\"import-Normal\">Mode mixture can occur at various levels in music. On a local level, individual chords may be borrowed from the parallel minor or major mode. We call these instances <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4286\">borrowed chords<\/a>. <span>Sometimes more material is based on the parallel major or minor: a group of chords, or even an entire phrase or section of music.<\/span> Figure 40\u20111 outlines the possible diatonic and borrowed chords in major and minor keys.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 40\u20111. Diatonic and borrowed chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-1024x740.png\" alt=\"image of chart\" width=\"1024\" height=\"740\" class=\"alignnone size-large wp-image-4334\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-1024x740.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-300x217.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-768x555.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-1536x1110.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-65x47.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-225x163.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev-350x253.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/11\/fig-40.1-rev.png 1828w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><span style=\"font-size: 1rem\"><\/span><\/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-40.1-for-screen-reader.pdf\" target=\"_blank\" rel=\"noopener\">Figure 40.1<\/a><\/div>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Of all possibilities, borrowed <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4977\">predominant<\/a> chords are by far the most common (iio, ii\u00f87, and iv) usually found in a major key, borrowing from the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_1030\">parallel<\/a> minor. These add a special color and marked pathos to chord progressions in major keys that would otherwise sound ordinary.<\/p>\n<h1><a><\/a>Examples of borrowed chords<\/h1>\n<p class=\"import-Normal\">Example 40\u20111, in a major key, uses one of the most common predominant borrowed chords, the borrowed subdominant triad from the parallel minor mode. In the fourth measure of the first phrase (0:09\u20130:22), the melody is harmonized with a diatonic subdominant chord (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 in the key of F major). The melody appears again later in 0:48\u20131:02, but now re-harmonized. Notice the borrowed subdominant (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) in the fourth measure of the re-harmonization.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 40\u20111. Annotated transcription of Richard Rodgers and Oscar Hammerstein II, \u201cEdelweiss\u201d from <em>The Sound of Music<\/em>, as performed on the Original Broadway Cast Recording, 0:09\u20130:22 and 0:48\u20131:02<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-1024x331.png\" alt=\"image of annotated score\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-4344\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-1024x331.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-300x97.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-768x248.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-1536x497.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-2048x662.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-225x73.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1-rev-350x113.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Audio for 0:09\u20130:22<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-844-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1a.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1a.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1a.mp3<\/a><\/audio><\/p>\n<p>Audio for 0:48\u20131:02<\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-844-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1b.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1b.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.1b.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6a9HlJUZAXTGcuD3QlbTsS?si=3fa59c41a1d8445b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American composer <strong>Richard<\/strong><strong> Rodgers<\/strong> (1902\u20131979) by reading this <a class=\"rId238\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.23644\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Geoffrey Block.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 40\u20112, also in a major key, uses the borrowed supertonic seventh chord, another common borrowed predominant. The German text of this passage translates in English to &#8220;I bear no grudge, even though my heart breaks.&#8221; We hear the expressive borrowed ii\u00f87 on the word &#8220;Herz,&#8221; which means &#8220;heart&#8221; in German.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 40\u20112. Robert Schumann, \u201cIch grolle nicht\u201d from <em>Dichterliebe<\/em>, mm. 1\u20134<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image127.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image127.png\" alt=\"image of annotated score with Roman numerals labeled in C major: uppercase one, uppercase four-six, uppercase four, two half-diminished seven, five-seven, one\" width=\"1333\" height=\"499\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-844-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.2.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Dietrich Fischer-Dieskau, on <a href=\"https:\/\/open.spotify.com\/track\/53y7yslD2qx6D5BjLYoF8C?si=f9fb7875c86f449a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId239\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 40\u20113 presents a compelling borrowed subdominant chord in the key of 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. In this excerpt, the borrowed minor iv (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) harmonizes the words \u201cnothing really matters\u201d in an otherwise major key context.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 40\u20113. Queen, \u201cBohemian Rhapsody,\u201d 1:29\u20131:47<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-844-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.3.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6l8GvAyoUZwWDgF1e4822w?si=367d4b40ba354339\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century English rock band <strong>Queen <\/strong>fronted by <strong>Freddie Mercury <\/strong>(1946\u20131991) by reading this <a class=\"rId240\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.47723\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Laing.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 40\u20114 uses a repeating <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_2738\">chord loop<\/a> that features two chromatic chords. The repeating progression throughout the recording is G major \u2013 B major \u2013 C major \u2013 C minor. The final chord (C minor) is the borrowed minor subdominant chord (iv) in the overall key of G major. The B major chord is also chromatic, and it functions as a secondary dominant (V\/vi) that resolves deceptively (VI\/vi). It is also a chromatic mediant in relationship to the tonic triad.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 40\u20114. Radiohead, \u201cCreep,\u201d 0:00\u20130:23<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-844-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.4-Creep.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.4-Creep.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-40.4-Creep.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6b2oQwSGFkzsMtQruIWm2p?si=4ec6b86ef2524944\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId241\" 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--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T73 Mode mixture and borrowed chords (12:51)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T73 Mode Mixture &amp; Borrowed Chords\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/H1bUhqpjDwY?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores the concept of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4287\">mode mixture<\/a> and identifies <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4286\">borrowed chords<\/a> in music by Rodgers and Hammerstein, Robert Schumann, Queen, and Radiohead (Examples 40-1, 40-2, 40-3, and 40-4).<\/p>\n<div class=\"textbox shaded\">Access a slideshow with the examples from this video here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/13PbCR1DMP9kPJxMBpiIXI1AZErphKV9Ho6ytDErV8Sw\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Mode mixture slides<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a class=\"rId243\" href=\"https:\/\/open.spotify.com\/playlist\/5PRZVxPxr9yBOSVQIHoAFA?si=a2c14cc254d94135\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for mode mixture<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 40-1 Chord spelling<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 40-1 Chord spelling<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Provide the key signature for each of the specified keys below. Then, given the Roman numerals, spell each of the chords in the specified keys, using accidentals if needed. Finally, indicate whether the chord is (1) <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4286\">borrowed<\/a>, and\/or (2) a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4161\">chromatic mediant<\/a> by checking the appropriate boxes below the staff. Some chords may not be either; others may be both.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image128.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image128.png\" alt=\"Image of three sets of chords to spell on bass clef staves\" width=\"1431\" height=\"1274\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex40.1-Chord-spelling-for-screen-reader.pdf\" target=\"_blank\" rel=\"noopener\">Ex40.1 Chord spelling<\/a><\/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\/Ex40.1-Chord-spelling.pdf\" target=\"_blank\" rel=\"noopener\">Ex40.1 Chord spelling<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 40-2 Analysis with borrowed chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 40-2 Analysis with borrowed chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. After studying and listening to the following excerpt, identify the key, then provide a Roman numeral analysis on the blanks provided. Circle the Roman numeral of all <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4286\">borrowed chords<\/a>. Circle and label all <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_2863\">non-chord tones<\/a>, and answer these questions:<\/p>\n<ul>\n<li>Assuming there are two four-bar phrases in this piece, what term(s) best characterize the overall form of the excerpt and why?<\/li>\n<li>What kind of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_844_4662\">six-four chord<\/a> appears in this excerpt?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 40\u20111. Traditional, \u201cCareless Love\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-1024x805.png\" alt=\"image of score with blanks beneath staff for key and Roman numeral labels.\" width=\"1024\" height=\"805\" class=\"alignnone wp-image-4365 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-1024x805.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-300x236.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-768x604.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-1536x1207.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-2048x1610.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-65x51.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-225x177.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.1-350x275.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p class=\"p1\">Listen to a recording of this example, performed by Bessie Smith, on <a href=\"https:\/\/open.spotify.com\/track\/0rUf1j43orpfi6f4LbVo8D?si=7d01da3b02414481\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<a class=\"footnote\" title=\"This recording uses a varied harmonization of the tune, but still features the striking borrowed chord.\" id=\"return-footnote-844-1\" href=\"#footnote-844-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<p>Learn more about American singer <strong>Bessie Smith<\/strong> (1894\u20131937), by reading this <a href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000315175\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Michael Meckna and revised by Richard Bernas.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART B. Study and listen to the following excerpts and read the English translation of the text (poetry by <span class=\"import-st\">Friedrich <\/span><span class=\"import-st\">R\u00fcckert)<\/span> beneath each excerpt. Then identify the key and provide a Roman numeral analysis for mm. 8\u201315 and mm. 54\u201365 on the blanks provided. Circle the Roman numeral of all borrowed chords. Circle and label all non-chord tones. Finally, compare the two passages (mm. 8\u201315 and mm. 54\u201365), and in several sentences, explain how these passages are related, especially with regard to harmony and chromaticism and the text of the song.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 40\u20112. Franz Schubert, op. 59, no. 3, &#8220;Du bist die Ruh,&#8221; mm. 1\u201317<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image130.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image130.png\" alt=\"image of score with blanks beneath staff for key and Roman numeral labels. Text beneath excerpt reads in German: Du bist die Ruh, der Friede mild, die Sehnsucht du und was sie stillt. In English: You are peace, the mild peace, you are longing and what stills it.\" width=\"1351\" height=\"1569\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-844-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.2.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.2.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track, performed by soprano Barbara Bonney, on <a href=\"https:\/\/open.spotify.com\/track\/27K996qPlCcnWSxr3zkDg6?si=587b7fcc1d524953\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId242\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 40\u20113. Franz Schubert, op. 59, no. 3, &#8220;Du bist die Ruh,&#8221; mm. 53\u201365<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image131-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image131-1.png\" alt=\"image of score with blanks beneath staff for Roman numeral labels. Text beneath excerpt reads in German: Dies Augenzelt von dienem Glanz allein erhelt, o f\u00fcll es ganz! In English: The tabernacle of my eyes by your radiance alone is illuminated, o fill it completely!\" width=\"1349\" height=\"1269\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-844-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.3.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-40.3.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track, performed by soprano Barbara Bonney, on <a href=\"https:\/\/open.spotify.com\/track\/27K996qPlCcnWSxr3zkDg6?si=587b7fcc1d524953\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId242\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/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\/06\/Ex40.2-Analysis-with-borrowed-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex40.2 Analysis with borrowed chords<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId243\" href=\"https:\/\/open.spotify.com\/playlist\/5PRZVxPxr9yBOSVQIHoAFA?si=a2c14cc254d94135\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for mode mixture<\/span><\/a><\/div>\n<\/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 40<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/modal-mixture\/\" target=\"_blank\" rel=\"noopener\">Brian Jarvis&#8217;s chapter on mode mixture<\/a> (Open Music Theory)<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-844-1\">This recording uses a varied harmonization of the tune, but still features the striking borrowed chord. <a href=\"#return-footnote-844-1\" 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_844_4286\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_4286\"><div tabindex=\"-1\"><p>chromatic chord taken from the parallel minor or major mode<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_844_4287\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_4287\"><div tabindex=\"-1\"><p>use of chromatic chords that exist diatonically in the parallel major or minor mode<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_844_346\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_346\"><div tabindex=\"-1\"><p>term referring to notes outside of a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_844_345\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_345\"><div tabindex=\"-1\"><p>term referring to notes within a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_844_1030\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_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_844_4977\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_4977\"><div tabindex=\"-1\"><p>a tonal function that typically precedes dominant function; chords with predominant function include the subdominant triad and chords built on scale degree 2<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_844_2738\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_2738\"><div tabindex=\"-1\"><p>system of harmonic organization that uses a repeating chord progression, often four chords long<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_844_4161\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_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_844_2863\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_2863\"><div tabindex=\"-1\"><p>notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_844_4662\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_844_4662\"><div tabindex=\"-1\"><p>triad in second inversion, meaning the fifth of the chord is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":40,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-844","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/844","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":57,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/844\/revisions"}],"predecessor-version":[{"id":7142,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/844\/revisions\/7142"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/844\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=844"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=844"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=844"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=844"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}