5.1: Modal Mixture
- Page ID
- 232687
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Key Takeaways
- Modal mixture involves borrowing notes from the parallel key.
- Mixture is more common in major keys (borrowing from the parallel minor).
- Mixture changes the quality of a chord, but not its function.
- Mixture can be used in melodies, one or more chords, extended tonicizations, and modulations.
- Chords with lowered roots use a flat sign in front of the Roman numeral (e.g., ♭VI).
\[(\hat3/\downarrow\hat3)\]
Example 1. Comparison of parallel major and minor scales and their solfège.
Example 2. Comparison of parallel major and minor scales and their scale degrees.
Melody and Harmony
While these changes may only be reflected in a single melodic line to add color to a specific moment, quite often they have a pronounced harmonic effect. By borrowing notes from the parallel scale, the chord qualities change, as shown in Examples 3 and 4:
Example 3. Comparison of parallel major and minor chord qualities.
Example 4. Comparison of parallel major and minor Roman numerals.
Common Progressions
Chords with le 
only: iio6, ii∅7, and iv
\[(\downarrow\hat6)\]
Example 5. Common predominant mixture chords: iio6, ii∅7, and iv.
Altering Chord Roots
\[(\downarrow\hat3)\]
Example 6. Modal mixture possibilities involving altered roots.
Try it!
Construct the chord according to the given Roman numeral. Pay careful attention to chord quality.
Tonic and Dominant
Using modal mixture with tonic and dominant chords is also possible (see Example 7). Changing from I to i is a common technique, but V to v is not as common. When v occurs in a major key, it is more likely to indicate an extended tonicization or modulatory passage instead of a single instance of modal mixture.
Example 7. Modal mixture with tonic and dominant.
Using Modal Mixture
\[(\downarrow\hat6)\]
Example 8. Comparison of a diatonic progression and the same progression with modal mixture in the predominant area.
Picardy Third
The one common use of modal mixture in minor keys is called a picardy third, in which a minor-key piece or movement ends with a major tonic chord (Example 9). The origin of the name “picardy” is unknown; the technique was quite common in the 16th and 17th centuries but faded in popularity in the 18th and 19th centuries.
Example 9. Harmonic progression ending with a picardy third.
Large-Scale Modal Mixture
\[(\downarrow\hat6)\]
Example 10. A progression that uses modal mixture to modulate to a distantly related key.
Musical Examples
Example 11 shows a simple harmonic progression that borrows from the parallel minor key, which produces modal mixture. Notice the change in quality from
to
.
Example 11. Camille Saint-Saëns, Samson et Dalila, Act II, “Mon cœur s’ouvre à ta voix” (excerpt begins at 1:36). Note that the B𝄫 is borrowed from the parallel minor key, creating modal mixture.
Example 12 is a more extensive usage of modal mixture. Modal mixture is introduced at the third system and continues until the conclusion of the phrase at the bottom of the page. This results in a modulation from E major to its parallel minor, E minor. Notice in particular the dramatic effect of starting a phrase in a major key and ending in a minor key with the same tonic.
Example 12. Alfredo Catalani, La Wally, Act I, “Ebben? Ne andrò lontana” (excerpt starts at 0:50). Larger-scale modal mixture starting in measure 14.
Assignments
- Modal Mixture Assignment (.pdf, .docx). Includes spelling, figured bass realization, 4-part voice-leading with Roman numerals, and analysis of musical excerpt. Access audio.