EXAMPLES OF MODAL MIXTURE (MAJOR AND MINOR) Chopin, Nocturne in C minor (1830), ending: Picardy third (major I with raised 3)

Schubert, Mass #6 in E major, Kyrie, ending: minor iv (with lowered 6)

c-: i I

E+: I

iv I

Mendelssohn, Overture to A Midsummer Night’s Dream, opening (organ transcription): minor iv

E: I V iv I i Chopin, Mazurka in A major, op. 17 #3, opening: vii°7 with lowered 6

A+: vii°7 I vii°7 I vii°7 I (V 6

5) V7 vii°7 I

Beethoven, Piano Concerto #5 (“Emperor”), mvt. 2, opening: minor i, minor iv

B+: I V I6 IV ii V (2) I6 i6 [iv6

vi V I

V7] V7 I I6 V V6 V7 I V6 V7 I [V7] vi

IV vii°6 I IV V8

64

- 753 vi IV vii°6 I IV V8

64

- 753

I iv V7 I iv V7 I

Brahms, Symphony #4/ii, opening: The first phrase is in the Phrygian mode (E major with 2, 3, 6 and 7, or E minor with 2); The second phrase uses major 3, lowered 6, and both forms of 7.

Brahms, Symphony #4/ii, opening (piano reduction)

E: I V I VII (iv) I VII (iv) I I6 v iv I I6 v iv I

MODE MIXTURE: EXAMPLES FOR ANALYSIS Schumann, Dichterliebe, “Ich grolle nicht,” opening “I bear no grudge, even though my heart is breaking” Brahms, Symphony No. 3, 2nd mvt., ending

Chopin, Nocturne in E major, Op. 9 No. 2, excerpt