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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,
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).
Topics:
Session 1:
• Borrowed Chords and Modulations with Mode Mixture
Session 2:
• Practice with Borrowed Chords
Session 3:
• Application of concepts through composition
Learning Materials:
Due Date Timeline
Text p. 365-380
Workbook p. 203-214
Instructor PowerPoint
Links to the Internet
Prepare:
Review Text p. 365-380
Session 3: (Applications)
Prepare:
Review Text p. 344-354
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