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Unit 6: Mode Mixture Prerequisite: A thorough understanding of chords belonging to each key, both major and minor, is critical to succeeding in this unit. Particularly of interest is the relationship between the parallel major and minor. Mode mixture is the technique of using chords from either scale in a very fluid manner. Chromaticism allows for modulation and tonicizing new keys, so a review of those concepts would be beneficial. Objectives: At the conclusion of this unit students will: Name and notate diatonic and chromatic chords in all keys, including key signatures Label diatonic and chromatic chords in musical examples including inversion symbols Analyze melodies and harmonies for use of modal mixture through accidentals using roman numerals and written discussion Analyze and label borrowed chords in musical examples Analyze scores for voice leading, transposition, doubling, or other musical concepts such as resolution of leading tones and tritons Analyze musical examples for modulations incorporating borrowed chords Complete part-writing examples using specific borrowed chords Realize figured bass containing borrowed chords Compose a short piece using a modulation and modal mixture Overview:

Unit 6c Mode Mixture

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Page 1: Unit 6c Mode Mixture

Unit 6: Mode Mixture

Prerequisite: A thorough understanding of chords belonging to each key, both major and minor, is critical to succeeding in this unit. Particularly of interest is the relationship between the parallel major and minor. Mode mixture is the technique of using chords from either scale in a very fluid manner. Chromaticism allows for modulation and tonicizing new keys, so a review of those concepts would be beneficial.

Objectives: At the conclusion of this unit students will:

Name and notate diatonic and chromatic chords in all keys, including key signatures

Label diatonic and chromatic chords in musical examples including inversion symbols

Analyze melodies and harmonies for use of modal mixture through accidentals using roman numerals and written discussion

Analyze and label borrowed chords in musical examples Analyze scores for voice leading, transposition, doubling, or other

musical concepts such as resolution of leading tones and tritons Analyze musical examples for modulations incorporating

borrowed chords Complete part-writing examples using specific borrowed chords Realize figured bass containing borrowed chords Compose a short piece using a modulation and modal mixture

Overview: In all of tonal music, the pattern of key relationships, as well as emphasis of each, is an important aspect of the tonal design of a work. We’ve discussed the importance of key throughout this sequence in chapter 10 with a discussion of cadence, phrase, and period structures, and then the larger scale discussion in chapter 20. By combining the relative major and minor scales along with their parallels, the chord choices become far greater for modulations, development sections, and variations. If the concept of mode mixture is simple, its application to composition is not. Mode mixtures need to be set up, resolved and explained, often in context of a modulation to a foreign key. These chords do not arrive unescorted, unresolved, and unexplained. There are three main types of mode mixtures: primary,

Page 2: Unit 6c Mode Mixture

secondary, and double. Primary mode mixtures use borrowed scale degrees from minor in major keys (IV-iv). Secondary mode mixtures contain diatonic triads changed to major (vi-VI). Double mixture changes a borrowed chord to minor (bVI-bvi).

Students should plan to spend approximately 2 to 3 hours plus class time per session. Additional time may be necessary.

Topics:Session 1:

Borrowed Chords and Modulations with Mode MixtureSession 2:

Practice with Borrowed ChordsSession 3:

Application of concepts through composition

Learning Materials:Due Date TimelineText p. 365-380Workbook p. 203-214Instructor PowerPointLinks to the Internet

Voice Thread: Session 2

Points available in this unit: 149 ( 25 ex. cr)Session 1: 69Session 2: 20 group workSession 3: 50Workbook/Session points: 139Checkpoint quizzes: 10Online quiz: 50Extra credit available: 25 pts.

Note: All preparation is the responsibility of the student, according to the directions below. Nothing will be collected or graded unless it is in italics and underlined. You should plan on reading the textbook and completing the self tests as part of every session preparation. All other preparation activities are optional and should be completed only as needed. Many opportunities to practice and review the concepts are provided, but you may not need all of the extra activities. Post questions that you encounter on the discussion forum. Check it frequently to see if you can help someone else in the class.

Discussion Forum Activity: None required this unit

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Unit Performance Assessment No unit performance this unit. It is combined with the next unit on the Neapolitan chord.

Session 1: (Mode Mixture)Prepare:

Read Text p. 365-380View instructor preview lecturePractice with self-tests A-D

Session Performance Assessment: Take checkpoint quiz Workbook ch. 21-1 A, B and C #1,2

Session 2: (Practice with Mode Mixture)

Prepare:Review Text p. 365-380

Session Performance Assessment: Workbook ch. 21-1 C #3-4 in Voice Thread

Session 3: (Applications)Prepare:

Review Text p. 344-354Watch class archives

Assignment: (50 total pts)Compose using workbook 21-1 G or H as described.

Complete your journal entries daily and submit on Monday mornings for 10 points.

Extra credit available this unit: analyze the workbook example 21-C #5 in the unit for extra credit (25 points)