Mode Mixture—the use of elements (scale degrees, chords) from two parallel keys within a passage of music; in particular, the borrowing of elements from the parallel minor key.
- Pd, Pg, and T. The functions involved are mainly Pd and Pg, with minor tonic also occurring fairly frequently.
- Chords borrowed from minor do not change in function when imported into the parallel major key.
- There are two main kinds of chromaticism, modal mixture and tonicization. I prefer to draw a clear line of distinction between them by saying that all dominant-function chords and secondary dominants are examples of tonicization, not modal mixture. A viio7 chord, with b^6, and V7/IV, with its b^7, are examples of tonicization, even though one of their tones is found in the parallel minor key.
- When writing mixture chords, treat b^6 carefully:
Do not double it. Resolve it to ^5, as you would in minor.
Exception: when b^6 is a root, in a bVI chord, it may be doubled.
- Once you introduce b^6, keep using it until it resolves.
For example, avoid the succession bVI-IV-V and use bVI-iv-V instead.
- Avoid parallel 5ths/8ves from bVI to V and in deceptive motion from V to bVI.
Modal Mixture: Introduction
Modal Mixture Analysis: Schumann
Neapolitan Sixth Chord
The Neapolitan chord is bII. It is usually in first inversion (bII6), and so, it is called the “Neapolitan sixth” chord. It consists of ^4 in the bass, b^6, and the root, b^2.
Neapolitan Sixth: Writing Basic Resolutions
Neapolitan Sixth: Writing Complex Resolutions
Augmented Sixth Chords
Augmented Sixth Chords: Introduction
Aug. 6th: Diagram
Aug. 6th: Brahms Example
Aug. 6th: Mozart Example
Aug. 6th: Write and Resolve