Re: Unanswered Question #1

On Apr 2, 7:36=A0pm, LJS <ljsche...@[EMAIL PROTECTED]
> wrote:
> After discussions, there are usually a few questions that still remain
> unanswered. Often they involve terms or concepts that seem to be
> viewed differently by various members of the discussion group. These
> different uses definitions of terms and concepts often prove to be
> counterproductive and time consuming. I hope that answering these
> Unanswered Questions may help to provide us with more productive
> discussions and a better understanding of music as well as of each
> other.
>
> I would like to start with a term that was used as an example in a
> recent post: Modal Interchange, or Modal Borrowing or Exchange. (In
> this case, even the term seemed to be in question as well as the
> meaning. Both the Pujol Etude and the Beethoven Sonata #23 were given
> as examples of this term although they seem to be, IMO, very different
> as I understand this term.
>
> In my research, I could not find Modal Borrowing but did find the term
> "chords have been 'borrowed' from the parallel minor" used in a
> definition of "Modal Interchange" so I will start there.
>
> ***
> Dolmetsch
> Modal Interchange
> Parallel major and minor keys, e.g. C major and C minor, which share
> the same key note contrast with relative major and minor keys, e.g. C
> major and A minor, which share the same key signature. In classical
> music theory, the diatonic major and minor scales and the harmonies
> associated with them are called the major and minor modes which should
> not be confused with the Greek, jazz or church modes, Ionian, Dorian,
> Phrygian,etc., mentioned in an earlier section.
> By drawing chords from both related major and minor keys we get what
> is called Modal Interchange. We can use this idea to analyse chords
> where the piece is in a major key and minor chords have been
> 'borrowed' from the parallel minor, Alternatively with a piece in a
> minor key we may find chords 'borrowed' from the parallel major. Using
> our ears we can usually distinguish between the two cases. ***
> <http://www.dolmetsch.com/musictheory31.htm#modalchange>
>
> Questions: =A0Is this a good definition of the term as used in this
> discussion and how does it apply in both the examples? Which specific
> chords do you see to be examples if Modal Interchange in the two
> examples above?
> LJS

For those of us old enough to remember, the song "I Think I am going
out of my head" by Little Anthony alternates Cmaj with Cmin. Seems to
have more "motion" than IV to IV minor