What strategies are you using to voice these progressions with modal mixture?
-Try to find stepwise motion in each voice. Voice leading!
-Write parts chord by chord? or write parts one voice at a time?
-Keep in mind our traditional voice leading rules. We want to keep our voices independent.
-Start from the beginning? (maybe not) The voice leading can be easier to manage if you start from the end and work backwards.
-In a weird kind of way, smooth voice leading trumps function and can make these progressions with modal mixture sound convincing. ii should not go to I by our traditional rules, but ii%7 sure can because it has such good voice leading.
Modal Mixture or non-chord tone?
-Look for whether or not it is on or off the beat. This can determine the strength of the chromatic pitch
-Is it in the melody? If so, it can be heard as a passing tone.
-Look at the duration of the pitch. A longer note could more easily be argued into being a chord tone of modal mixture.
Poor voice leading
Reasonable - Each line is independent.
Expanding beyond four voices
When can we use mode mixture chords?
What modes can you borrow from?
Chord Symbols: C - Bb - Fmaj7(#11) - D%7 - C
Progression: I - bVII - IVM7(#11) - ii%7 - I
mere exposure effect: when you hear something enough times that it begins to sound good regardless
The iiø7 (Dø7) shares 3 of 4 tones with viio7 (fucntional substitution for the dominant, also a borrowed chord). This allows the ii%7 to function as the dominant because of voice leading. A bII7 has even more tendancy tones.
Mahler’s Symphony No. 2 Mvt. 1 is full of mode mixture.
Chord Symbols: C - F/C - F-/C - C Soprano: C5 - C5 - C5 - C5 Alto: E4 - F4 - F4 - E4 Tenor: G3 - A3 - Ab3 - G3 Bass: C3 - C3 - C3 - C3 Progression: I - IV - iv - I