Chapter 12 - Key Relationships

Mode mixture - Harmonic technique of combining chords from a major key and the parallel minor, or mixing the parallel major and minor modes using the b3, b6 and b7 from the parallel natural minor.
To analyze and notate chords in a major key whose quality has been altered by mode mixture: * Adjust the Roman numeral to uppercase or lowercase to reflect the change in the third of the chord. * If the root of the chord is altered, add a b or # before the Roman numeral to show that the chord is built on an altered pitch. * If the chord has been altered to be augmented, add the + sign; if the chord has been altered to be diminished, add the diminished (°) sign. * As a general rule, since these mixture chords are derived from lowered scale degrees, resolve the chromatic alterations down.

Picardy third - One of the most common uses of mode mixture when in minor is the practice of ending a piece with an authentic cadence using a major tonic. The major tonic is borrowed from the parallel for a more "authentic-sounding" ending. * The third of the chord is raised to make it major.

Modulation - The process of moving from one tonal center to another, with or without changing the key signature. * Usually occurs to closely related keys because they have common chords between them. * Occurs within a phrase by using a chord common to both the old and new key or by changing tonal centers directly as a new phrase or section begins.
Tonicization - When we have a region of a new key or experience a temporary sense of a new tonic by the occurrence of one or two non-diatonic chords.
$The difference between modulation and tonicization$ is the occurrence of a convincing cadence and significant time in the new key.
Common modulations: * From major to relative minor (the submediant) is one of the most common ones. * Modulation to the dominant * Modulation to the subdominant * Modulation from major to parallel minor

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