![]() ![]() Fm7 and Bb could be usefully analysed as 'borrowed' from Eb major. Look carefully at what a chord DOES, in context, before assigning it a functional description.Ĭ, F, Fm7, Bb7, Eb. The sort of analysis that wants every chord to have a dominant relationship to the next one can run into problems with much commonplace modern harmony. So what? We're in THIS key, the chord needs a reason to exist in THIS key!) (Yes, a chord that isn't diatonic in this key will probably be diatonic in some other key. 'Modal interchange' is often merely an excuse. 'Chromatic mediant' isn't an analysis, just a description. So, is "being surrounded by the same chords" a necessary condition for a chord to receive the chromatic mediant terminology? ![]() ![]() "Chromatic mediants (.) provide color and interest while prolonging the tonic harmony, proceed from and to the tonic or less often the dominant" "Some chromatic mediants are equivalent to altered chords, for example ♭VI is also a borrowed chord from the parallel minor (.), with context and analysis revealing the distinction."Īnd that was exactly my question: What to look for in the context to distinguish both? The article quotes: I believe the "Chromatic mediant" wikipedia article shed some light on my question. What should I look for to determine this classification? Thanks. I thought chromatic mediant was just a label of a chord distant a minor/major third apart from a degree (not being diatonic), but aparently there's also a semantic issue involved because a chord would "function" as a chromatic mediant and not as a modal borrowing. I'd like to know, how a bIII (the Eb chord in the key of C) functions different when analyzed as a modal interchange chord and a chromatic mediant chord? And also how would you differentiate the chromatic mediant of V and of I. Someone also says: part of an extended plagal cadence bIII bVII IV I.Secondary dominant of tritone substitution of V chord.There's a comment where he lists some possible analysis options of the label bIII: In the video How To Analyze Songs from the channel 12 tone, the guy wisely separates the task of labeling from analyzing. ![]()
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