The Borrowed Chord Analysis
A student is analysing a chorale-style passage in G major. At bar 7 the harmony moves from a G major chord to an E flat major chord, then to D major, then to G major. The student labels the E flat chord as a 'chromatic passing chord' and moves on. The passage's melody over the E flat chord is G–F sharp–E flat, descending. The examiner's notes indicate the passage should be discussed in terms of modal mixture and its function within the phrase. The student's analysis allocates only one sentence to the chord and spends two pages on the cadence that follows.
1. Identify the function of the E flat major chord in G major and explain why 'chromatic passing chord' is an inadequate label.
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In G major, E flat major is a chromatic chord built on the flattened submediant (E flat is the flattened sixth degree). Its most common function is as a borrowed chord from the parallel minor, G minor, where E flat major is VI. It can also function as a pivot or as a predominant leading to D major, which is the dominant of G.
Here the progression G – E flat – D – G is best read as I – flatVI – V – I. The E flat chord is a predominant: it approaches the dominant D from a semitone below in the bass if voiced that way, and it creates a strong chromatic pull to D. The melody G–F sharp–E flat is significant: F sharp is the leading note of G, and its appearance over or adjacent to the E flat chord creates a cross-relation or chromatic clash that is expressive and should be discussed.
'Chromatic passing chord' is inadequate because it describes the chord's surface (it is chromatic, and it sits between two diatonic chords) without identifying its function. A passing chord typically connects two chords smoothly by step in the bass and has little harmonic weight. This chord is a structural predominant with a specific modal-mixture origin and a melodic role. The label also discourages discussion of the cross-relation and the phrase's shape, which is exactly what the examiner rewards.
2. Explain how the student should restructure the analysis to earn the marks available, given that two pages are currently spent on the cadence.
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The student's allocation is inverted relative to the marks. The cadence is the expected, conventional event; the E flat chord is the distinctive, examinable event. The analysis should be rebalanced so that the chromatic chord receives proportionate treatment.
A workable structure:
- Identify the chord precisely: E flat major in G major, root E flat, quality major, Roman numeral flatVI, borrowed from G minor (modal mixture).
- Explain its function: predominant approaching the dominant D, with the chromatic bass or inner voice creating the pull.
- Discuss the melody: the G–F sharp–E flat descent, the cross-relation between F sharp and the E flat harmony, and the expressive effect.
- Place it in the phrase: how the chord prepares the cadence rather than interrupting it - the E flat is part of the phrase's drive to the cadence, not a decoration.
- Then treat the cadence concisely: identify its type (perfect authentic if soprano ends on G over G major), and note how the preceding chromaticism heightens it.
Two pages on the cadence should be cut to a paragraph. The student should use technical vocabulary (modal mixture, predominant, cross-relation, flatVI) and connect analysis to effect, which is what distinguishes a top-band response from a chord-by-chord list.