Hey Twitter! What's your favorite diverse #musictheory example of modal mixture?

We'll go first: Samuel Coleridge-Taylor's Minuet, from the
Five Fantasiestücke for String Quartet (op. 5, no. 4, 1895), includes a bunch of Eb's in G major (b6) right from the very start.
There's a ton of great mixture to talk about here. The iiø7 and iv chords in the opening theme are just one example.

Additionally, the Minuet is a continuous, rounded binary, which modulates to Bm (iii) at the end of the A section.

Find the score here: https://composersofcolor.hcommons.org/scores-by-composers-of-color/samuel-coleridge-taylor/
When the A theme returns, check out how the G pedal in the cello is replaced by pizzicati, highlighting the b6 mixture.
That same Eb? Delaying the Minuet's final cadence, it becomes a forte V/bII a few bars later in one of the most exciting tonicized Neapolitans you'll ever hear.

Feel free to suggest other equally brilliant bIIs composed by BIPOC to add to our database!

https://docs.google.com/spreadsheets/u/3/d/1CMnSjvraO1Ho68XUrPpmegBhVmD0pSaQkj17T7MPA6w/edit#gid=0
Take the chance today to learn all five movements, recorded here by the Coleridge Ensemble, and make progress on your #CCRPbingo card!

The Minuet and Trio begins at ~11:25, and that brilliant Neapolitan comes in for the first time about a minute later.
You can follow @ccresourceproj.
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