a.

b.

c.

d.

II. Modal borrowing (interchange of mode, modal mixture).

A. The modal scale-degrees (those which distinguish a major key from its parallel minor) are 3, 6, and 7. For
expressive or coloristic reasons, composers sometimes employ modal scale-degrees “borrowed” from the
parallel key, usually associated with chords borrowed from that key. The function of these chords
remains the same. Such borrowed chords are most often found in works in the major mode, and thus
come from the parallel minor key. They may be analyzed with the symbol “M.B.” and the appropriate
roman numeral, with care taken to show the proper chord quality. Note in the following examples the
accidentals required in the figured bass.

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 B. Modally borrowed chords may replace or follow the diatonic version of the same chord. They rarely
precede the diatonic version.

C. A work in the minor mode may end on a major tonic triad. The raised third of this chord is called the
Picardy third (tierce de Picardie). This is the most common borrowing from the parallel major mode.

Analysis
Analyze the examples of music using modal borrowing in Unit 12 of Music for Analysis. Refer to the Checklist
for Analysis (Part V, Unit 21).

Exercises
1. a. Analyze the following modally borrowed chords. Include roman numerals and figured bass with
proper accidentals.

114 DIATONIC MATERIALS

 b. Alter the following chords by modal borrowing. Analyze both chords of each pair with roman numerals
and figured-bass symbols, including accidentals.

2. Write the following chords in root position, using only the treble staff. Add the appropriate accidentals to
the roman numerals.
D: III, iv, i, VI, ii•
A : VII, III, ii•, iv, i

3. Harmonize the following soprano lines in four voices, using modal borrowing where appropriate. Analyze.

a.

b.

c.

d.

VARIANT QUALITIES OF TRIADS 115

 4. Realize the following figured basses:

a.

b.

c.

d.

5. Complete the accompaniment to the following melody in the given textures and styles. Use modally
borrowed chords where appropriate.

116 DIATONIC MATERIALS

6. The following patterns may be used for composition or improvisation:

a. C minor:

b. C major:

VARIANT QUALITIES OF TRIADS 117