Re: Unanswered Question #1

On Thu, 03 Apr 2008 20:23:02 GMT, "Steve Latham" <llatham@[EMAIL PROTECTED]
>
wrote:

>
>"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.

You're right - I was replying to the basic idea, and was loose with the
terminology. But I didn't think it matted that much. In my mind they were
all referring to "Mode Mixture", which is the term Piston uses.
>
>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.

Is "applied" the standard term used for secondary dominants in academia? I
have never seen the term, but it's an interesting idea - that the
Secondary
Dominant is applied to the following chord. Just curious - that's a new
one
to this autodidact.
>
>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.

I can understand that.
>
>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..

Good points. Thanks.

Danny
>
>Steve 
>