HOSTS- Jeremy Burns, Matthew Scott Phillips
BUMPER MUSIC- "Mixed Motives" (Area 47 Music)
ANNOUNCER- Mike Cunliffe
We are bringing chromaticism to your doorstep! Today's special delivery? Mixed modes and borrowed chords! Learn how borrowing just two or three notes from a parallel key can allow for several new chords that can add intrigue to your progressions and help to smooth our your modulations.
DIATONIC- When a triad, chord or melody consists of notes solely from the given key, it is considered to be DIATONIC.
CHROMATIC- When a triad, chord or melody consists of notes that don't belong to the given key, it is considered to be CHROMATIC.
PARALLEL RELATIONSHIPS- Parallel keys, or (modes) share the same tonic (or final). C major and
C minor are considered to have a PARALLEL relationship.
MIXED MODE- This occurs when notes, in a passage of music, belong to a combination of different modes or scales.
BORROWED CHORD- This occurs when we use chords from a different key than the one we're in.
-When we use tones from a different mode than the one we are currently in, we are mixing modes.
-This can happen during a passage of music or for only an instance.
-A common way to mix modes is to borrow notes from a minor key, while in major, or vice versa.
This can often result in BORROWED CHORDS.
-The HARMONIC MINOR (raised 7) and MELODIC minor ( raised 6 and 7) is fairly common.
-The PICARDY 3rd (common in music from the 1500’s-1750’s)- Beethoven's 5th begins in Cm but ends in C major.
-Some theorists suggest the IV chord to be a good borrowed chord in minor, when harmonizing with a RAISED 6 in a melodic minor melody.
-Mode mixture can often herald a modulation.
-Mode mixture can also aid in modulation to distantly related keys.
MUSIC STUDENT 101