Confirmed spotted this myself today for the first time too . RegardsJames <| sep |> Was just recently reading about modes in relation to the logic of nondiatonic chords in progressions and got the impression that in traditional modal writing the subtonic is raised to provide a leading tone into the modal tonic . In the context , this was the justification for the allowability of VV in a progression in Cmaj . If this is true , it seems like a pretty good reason why people seem to find it difficult to play in modalities also because modal music relies more heavily on counterpoint than harmony . They think that the modal scale is just a shift over to an emphasis on the II , but without the leading tone it ' s unconvincing .