ABSTRACT
The harmonic vocabulary of Baroque music consisted of all the diatonic triads and seventh chords along with the secondary functions attending each of those harmonies, in the home key and in the keys closely related. Mode mixture comes in two varieties: Change of mode, which involves the shift from a major key to the parallel minor, or the reverse; and modal borrowing, the brief and occasional use of harmonies from the parallel mode. While change of mode involves the consistent and protracted use of harmonic resources from the parallel key, modal borrowing involves the brief and occasional use of those resources. These harmonies (for better or worse) have been termed borrowed harmonies. Modal borrowing bears the same relationship to change of mode that tonicization bears to modulation: the former process in each case is more local in effect, the latter more lasting.
