Questions: Chromatic Mediant Chords

Question 1

In C major, a composer moves from a C major tonic chord directly to an E major chord. What type of harmonic motion is this?

• A. A secondary dominant — E major functions as V/vi, preparing a move to A minor
• B. A chromatic mediant — E major (III) is a major chord a third above the tonic sharing the common tone E, but differing from the diatonic iii (E minor)
• C. A borrowed chord from C minor replacing the diatonic iii
• D. A modulation to E major, established by the direct move from I

Answer: (B)

E major (III) in C major is a chromatic mediant: its root is a major third above the tonic C, it shares the common tone E with the C major tonic chord (C–E–G), but it differs from the expected diatonic mediant iii (E minor) by raising the fifth from G to G#. The I–III move is a coloristic shift, not a secondary dominant (which would need to resolve to A minor through a dominant-tonic cadence) and not a modulation (a single chord cannot establish a new key).

Question 2

What voice-leading feature primarily accounts for the smoothness of chromatic mediant progressions despite their use of non-diatonic pitches?

• A. Both chords belong to the same diatonic scale, so no chromatic motion occurs
• B. The chromatic half-step motion in all voices creates a seamless glide
• C. A shared common tone allows one voice to hold stationary while other voices move by half-step
• D. The bass moves by perfect fifth, providing the same grounding as a functional progression

Answer: (C)

Despite involving non-diatonic pitches, chromatic mediant progressions are inherently smooth because each chromatic mediant shares at least one pitch with the tonic triad — the common tone. In C major to Ab major (I–bVI), the pitch C is shared by both chords. One voice holds C while the others move by half-step (E → Eb, G → Ab). The combination of a stationary common tone and minimal voice movement produces the characteristic 'slide' — harmonic color change with no sensation of effort or distance.

Question 3

A chromatic mediant progression preserves the tonal center — the listener does not perceive a change of key.

• T. True
• F. False

Answer: True

This is the essential distinction between a chromatic mediant and a modulation. A modulation establishes a new tonic through mechanisms like a dominant-tonic cadence in the new key or sustained emphasis on a new pitch center. A chromatic mediant is a single chord that creates a coloristic shift without establishing a new key — the tonal center remains unchanged. Listeners experience this as an emotional inflection, not as a key change. This is why film composers use chromatic mediants for 'wonder' or 'otherworldly' effects: they change harmonic color without moving away from home.

Question 4

Moving from I to bVI in C major (C major to Ab major) constitutes a modulation to Ab major.

• T. True
• F. False

Answer: False

A single chord does not constitute a modulation. Modulation requires establishing a new tonal center — typically through a dominant-tonic cadence (V–I) in the new key or by sustaining emphasis on the new pitch class. A chromatic mediant like bVI creates a coloristic effect and typically returns to the original key context. Unless the Ab major chord is followed by Eb major (V of Ab) and further cadential confirmation of Ab as a new tonic, it remains a chromatic mediant, not a modulation.

Question 5

What distinguishes a chromatic mediant from a diatonic mediant in C major? Use a specific example.

Model answer: In C major, the diatonic mediants are iii (E minor) and vi (A minor) — both are a third from the tonic and entirely within the C major scale. The chromatic mediants are III (E major), VI (A major), bIII (Eb major), and bVI (Ab major) — also third-related to the tonic, but they differ in quality or diatonic origin. For example, III (E major) versus iii (E minor): both have root E, but E major contains G#, which is not in C major. E major shares the common tone E with the tonic triad (C–E–G) while introducing foreign G#, creating coloristic contrast that the diatonic E minor lacks.

The key is that 'chromatic' refers to the contrast in mode or diatonic origin, not merely the presence of accidentals. The defining features of a chromatic mediant are: (1) root a third away from the tonic, (2) at least one common tone with the tonic chord, and (3) at least one pitch foreign to the home key's diatonic scale. A borrowed chord like bVII (Bb major in C) has chromatic notes but is not a chromatic mediant because its root is a seventh above, not a third.