Re: Unanswered Question #1

"Danny Schorr" <.@[EMAIL PROTECTED]
> wrote in message 
news:qg99v31ppqot9n0j8nh9hj4asbk3oqhm8j@[EMAIL PROTECTED]
>
> I'd use Modal interchange usually to account for, among other things, 
> minor
> iv in major. You see that often in rock and pop, even blues. For
instance:

Most texts use the term "Mode Mixture" to account for notes, or harmonies 
that appear in one mode (i.e. Major) being uses in the PARALLEL mode (i.e.

minor). Cm being used instead of C Major in a piece in G Major, like "When

September Ends" is an example of Mode Mixture.

I also hear the term "borrowed" notes or chords as well. Unfortunately,
this 
term is also used in association with Secondary (Applied) chords as well -

for instance, V/V is sometimes called a "borrowed chord" - the chord has 
been borrowed from the key of the Dominant.

I think most authors see "borrow" in this context as being a little to 
generic of a term - yes, both of those types of "foreign" notes are being 
"borrowed". Thus, many use more specific terms to make a distinction
between 
Mode Mixture Chords and Secondary Chords.

In early music, in modal systems, the concept of Mode Mixture is not 
typically used as it seems to be descriptive of a CPP stylistic device. 
Instead, "mutation" tends to be used, as in Hexachordal Mutation.

Modal Interchange seems to be a newer term (or at least, I've only 
encountered it more recently) used in "modern" modal contexts such as Jazz

or other modal music, where, rather than borrowing from Parrallel modes of

a single Key, notes are "interchanged" from one mode to another, with the 
same "tonic" note. So, in a work that's primarily in C Dorian, we might 
encounter a few Ab notes. The explanation for these would typically be
that 
they were being borrowed from C Aeolian (unlees there were some other 
functional reason for their existence).

However, conceptually, Mode Mixture and Mode (Modal) Interchange seem to
be 
relatively synonymous. The former I typically hear associated with Tonal 
works though, and the latter with works in extended tonality, etc. etc..

Steve