15

Variant Qualities of Triads

I. Scalar variants.
A. The following are variants relating to use of the melodic minor scale. Note that these chords use either
the raised form of scale-degree 6 or the subtonic. The figured-bass symbols for the altered notes must be
placed next to the roman numeral in the analysis.

IV, ii, and vi are found with the ascending form of the scale; v is found with the descending form.

B. The presence of the third scale-degree as a nonharmonic tone over dominant harmony will give the effect
of an augmented III + 6. Such sonorities are best understood as V, with the third scale-degree analyzed
as nonharmonic.

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C. Occasionally a triad will appear over the subtonic in the minor mode (unaltered seventh scale-degree of
natural minor). The major triad that results is associated either with a major III chord (with the effect of
a momentary shift to the relative major) or with bass motion passing stepwise down from the tonic note.
Note that the voice leading in the progression VIIIII is analogous to the progression VI in the relative
major and can be analyzed as V/III-III (see Part III, Unit 1).

The progression VIIIII often occurs as part of a circle-of-fifths harmonic sequence.

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

Exercises
1.

Write the following chords in root position using only the treble staff. Add the appropriate accidentals to
the roman numerals.
f: v, ii, VII, IV, vi
c : IV, ii, VII, v, IV

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2.

Harmonize the following soprano lines, using scalar variants where appropriate:

3.

Realize the following figured basses:

4.

Realize the following figured basses:

a.

b.

c.

d.

5.

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Harmonize the following melodies, using the variant triads discussed in this unit. Analyze completely.

DIATONIC MATERIALS

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.

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a.

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

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.

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4.

Realize the following figured basses:

a.

b.

c.

d.

5.

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

DIATONIC MATERIALS

6.

The following patterns may be used for composition or improvisation:

a. C minor:

b. C major:

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