{{Short description|Chord borrowed from the parallel key}} {{For|borrowed chord progressions|Borrowed chord progression}} {{Image frame|content=<div style="zoom: 70%;"><score sound="1" override_midi="Borrowed chord Bach BWV 846.mid"> { #(set-global-staff-size 14) \set Score.proportionalNotationDuration = #(ly:make-moment 1/8) << \new PianoStaff << \new Staff << \clef treble \key c \major \time 4/4 \set Score.currentBarNumber = #13 \bar "" \new Voice \relative c' { r8 d16 a' d d, a' d r8 d,16 a' d d, a' d r8 d,16 f b d, f b r8 d,16 f b d, f b r8 c,16 g' c c, g' c r8 c,16 g' c c, g' c } >> \new Staff << \clef bass \key c \major \time 4/4 \new Voice \relative c' { \voiceOne r16 a8.^~ a4 r16 a8.^~ a4 r16 aes8.^~ aes4 r16 aes8.^~ aes4 r16 g8.^~ g4 r16 g8.^~ g4 } \new Voice \relative c { \voiceTwo f2_\markup { \concat { \translate #'(-4.5 . 0) { "C: ii" \raise #1 \small "6" \hspace #24 "vii" \raise #1 "o" \combine \raise #1 \small 4 \lower #1 \small 3 \hspace #25 "I" \raise #1 \small "6" } } }
f f f e e
} >> >> >> } </score></div>|width=460|caption=Borrowed chord (vii{{music|dim}}{{music|43 chord}} = F–A{{music|flat}}–B–D) in J.S. Bach's Prelude No. 1 in C major from ''The Well-Tempered Clavier''}}
A '''borrowed chord''' (also called '''chord borrowing''', '''mode mixture''',<ref name="Romeo">Romeo, Sheila (1999). ''Complete Rock Keyboard Method: Mastering Rock Keyboard'', p. 42. {{ISBN|0-88284-982-4}}. Bouchard, Joe and Romeo, Sheila (2007). ''The Total Rock Keyboardist'', p. 120. Alfred Music. {{ISBN|9780739043127}}.</ref> '''modal mixture''',<ref name="B&S" /> '''substituted chord''',<ref name="White">White, William Alfred (1911). ''[https://archive.org/details/harmonicpartwri00whitgoog Harmonic Part-writing]'', p. 42. Silver, Burdett, & Co. {{pre-ISBN}}.</ref> '''modal interchange''',<ref name="Romeo" /> or '''mutation'''<ref name="K&P 246">{{Cite book|title=Tonal Harmony|last1=Kostka |first1=Stefan|author1-link=Stefan Kostka|last2=Payne|first2=Dorothy|date=2004|publisher=McGraw-Hill|isbn=0-07-285260-7|edition=5th|location=Boston|page=343 |oclc=51613969}}</ref>) is a chord borrowed from the parallel key (minor or major scale with the same tonic). Borrowed chords are typically used as "color chords", providing harmonic variety through contrasting scale forms, which are major scales and the three forms of minor scales.<ref name="B&S">Benward & Saker (2009), p. 71.</ref> Chords may also be borrowed from other parallel modes besides the major and minor mode, for example D Dorian with D major.<ref name="Romeo" /> The mixing of the major and minor modes developed in the Baroque period.<ref>Benward & Saker (2009), p. 74.</ref>
Borrowed chords are distinguished from modulation by being brief enough that the tonic is not lost or displaced, and may be considered brief or transitory modulations<ref name="White" /> and may be distinguished from secondary chords<ref>Sorce, Richard (1995). ''Music Theory for the Music Professional'', p. 332. Scarecrow Press. {{ISBN|9781461664208}}.</ref> as well as altered chords.<ref name="Romeo" /> According to Sheila Romeo, "[t]he borrowed chord suggests the sound of its own mode without actually switching to that mode."<ref name="Romeo" />
== Common borrowed chords == {{Image frame|content=<div style="zoom: 70%;"><score sound="1"> { #(set-global-staff-size 14.2) \set Score.proportionalNotationDuration = #(ly:make-moment 1/7) << \new PianoStaff << \new Staff << \clef treble \key a \major \time 3/4 \set Score.currentBarNumber = #13 \bar "" \new Voice \relative c'' { \set Score.tempoHideNote = ##t \tempo 4 = 60 cis8.( d64 cis b cis) e8( d b gis) a8.( cis32 a) g'2 eis32([ fis gis fis] e[ d cis b)] a16-.[ cis-. e8.] e,16( fis gis) b4( a8) } >> \new Staff << \clef treble \key a \major \time 3/4 \new Voice \relative c' { <ais g'>4(_\markup { \concat { \translate #'(-7 . 0) { "A: vii" \raise #1 \small "o7" "/ii" \hspace #7 "ii" \hspace #1.8 "vii" \raise #1 \small "o" \combine \raise #1 \small 4 \lower #1 \small 3 \hspace #1.8 "I" \raise #1 \small "6" \hspace #4 "vii" \raise #1 \small "o" \combine \raise #1 \small 6 \lower #1 \small 5 "/ii" \hspace #7 "ii" \raise #1 \small "6" \hspace #13 "I" \raise #1 \small "6" \hspace #3.7 "V" \raise #1 \small "7" \hspace #5 "I" } } } <b fis'> <d f> <cis e>) r8 <cis ais'>8( <d b'> <e cis'>) <d b'>8 r \clef bass <e, cis'> r <e d'> r <a_~ d>4( <a cis>8) } >> >> >> } </score></div>|width=450|caption=Borrowed chord (vii{{music|dim}}{{music|43 chord}} = G{{music|#}}–B–D–F{{music|natural}}) in Mozart's Piano Sonata No. 18, mvmt. II<ref name="B&S75">Benward & Saker (2009). ''Music in Theory and Practice, Vol II'', p. 75. 8th edition. McGraw Hill. {{ISBN|978-0-07-310188-0}}.</ref>}} Sheila Romeo explains that "[i]n theory, any chord from any mode of the scale of the piece is a potential modal interchange or borrowed chord. Some are used more frequently than others, while some almost never occur."<ref name="Romeo" />
In the minor mode, a common borrowed chord from the parallel major key is the Picardy third.
In the major mode, the most common examples of borrowed chords are those involving the {{music|flat}}{{music|scale|6}}, also known as the lowered sixth scale degree. These chords are shown below, in the key of C major.<ref>Kostka, p. 344.</ref> {| | * vii{{music|diminished}}{{sup|7}}: B–D–F–A{{music|b}} * ii{{music|diminished}}: D–F–A{{music|b}} * ii{{music|halfdim}}{{sup|7}}: D–F–A{{music|b}}–C * iv: F–A{{music|b}}–C ! |<score sound="1"> { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 <b d f aes>1_\markup { \translate #'(-7.5 . 0) { \concat { \small "C Maj.:" \hspace #1 \normalsize "vii" \raise #1 \small "o7" \hspace #3.5 "ii" \raise #1 \small "o" \hspace #5.5 "ii" \raise #1 \small "ø7" \hspace #5 "iv" } } } <d f aes> <d f aes c> <f aes c> \bar "||" } } </score> |} The next most common involve the {{music|flat}}{{music|scale|3}} and {{music|flat}}{{music|scale|7}}. These chords are shown below.<ref>Kostka, pp. 346–347.</ref> {| | * i: C–E{{music|b}}–G *{{music|b}}VI: A{{music|b}}–C–E{{music|b}} * iv{{sup|7}}: F–A{{music|b}}–C–E{{music|b}} *{{music|b}}III: E{{music|b}}–G–B{{music|b}} *{{music|b}}VII: B{{music|b}}–D–F ! |<score sound="1"> { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 <c es g>1_\markup { \translate #'(-7.5 . 0) { \concat { \small "C Maj.: " \hspace #1 \normalsize "i" \hspace #6 "♭VI" \hspace #6 "iv" \raise #1 \small "7" \hspace #5 "♭III" \hspace #4.5 "♭VII" } } } <aes' c es> <f aes c es> <es g bes> <bes d f> \bar "||" } } </score> |}
{{Image frame|content=<score sound="1"> { \relative c' { \clef treble \time 4/4 <c e g>1_\markup { \concat { \translate #'(-4 . 0) { "C: I" \hspace #5.5 "♭VII" \hspace #5 "♭VI" \hspace #3.5 "♭VII" \hspace #5.8 "I" } } } <bes d f> <aes c es> <bes d f> <c e! g> \bar "||" } } </score>|width=350|caption=I–{{music|flat}}VII–{{music|flat}}VI–{{music|flat}}VII in C<ref name="Romeo"/>}} {{Image frame|content=<score sound="1"> { \relative c' { \clef treble \time 4/4 <d f a>2_\markup { \concat { \translate #'(-4 . 0) { "C: ii" \hspace #1.5 "♭VII" \raise #1 \small "7" \hspace #3.3 "I" } } } <bes d f aes> <c e g>1 \bar "||" } } </score>|width=310|caption=Backdoor progression in C. {{music|flat}}VII<sup>7</sup> is borrowed from the parallel minor rather than Mixolydian as {{music|flat}}VII may be.}} [[File:Cesar Franck Variations Symphoniques mm 5-9 excerpt with 'chromatic analysis'.png|thumb|450px|Phrase from César Franck's ''Variations symphoniques'' (1885), with chromaticism from use of borrowed chords and descending linear motion and, "resolute movement from V of V to V to I."<ref>Cooper, Paul (1975). ''Perspectives in Music Theory'', p. 216. New York: Dodd, Mead, and Company. {{ISBN|0-396-06752-2}}. Original with Roman numeral analysis only.</ref>File:Cesar Franck Variations Symphoniques mm 5-9 excerpt with 'chromatic analysis'.mid]]
Chord progressions may be constructed with borrowed chords, including two progressions common in rock music, I–{{music|flat}}VII–{{music|flat}}VI–{{music|flat}}VII, common everywhere, and I–{{music|flat}}VI–IV ({{audio|Borrowed chord I bVI IV.mid|Play}}), used by bands like Genesis, Yes, and Nirvana.<ref name="Romeo" /> {{music|flat}}VII is from Mixolydian and {{music|flat}}VI is found in both Aeolian and Phrygian.<ref name="Romeo" /> The {{music|b}}VII–I cadence with {{music|b}}VII substituting for V is common, as well as {{music|b}}II–I, {{music|b}}III–I, and {{music|b}}VI–I.<ref>Romeo (1999), p. 43.</ref> In popular music, the major triads on the lowered third ({{Music|flat}}III), sixth ({{Music|flat}}VI) and seventh ({{Music|flat}}VII) scale degrees are common.
Borrowed chords have typical inversions or common positions, for example ii{{music|diminished}}<sup>6</sup> and ii{{music|halfdiminished}}{{su|p=6|b=5}}, and progress in the same manner as the diatonic chords they replace except for {{music|flat}}VI, which progresses to V<sup>(7)</sup>.<ref name="B&S" /> {{Clear}}
==See also== *{{annotated link|Aeolian harmony}} *{{annotated link|Diatonic function}} *{{annotated link|Harmonic major}}
==References== {{reflist}}
==External links== *{{YouTube|LNOTeF-CshU&feature|"Modal Interchange in La Fille aux Cheveux de lin by Claude Debussy"}} *{{YouTube|dakG0bJ3wf0|"Modal Interchange in Pop Songs"}} *[https://web.archive.org/web/20100124065515/http://smu.edu/totw/modemix.htm "Mode Mixture"], Robert J. Frank (2000), ''Theory on the Web''. *{{YouTube|xsba_EIQkTY&t|"Modal Interchange Examples in the Music of Stevie Wonder" part 2}} and {{YouTube|FbWVO9e84Uc&t|part 1}} *[http://www.berklee.edu/core/glossary.html "Glossary: Terms Used in Writing Skills"], ''Berklee''. *Mike Campese. [http://www.guitar9.com/columnist286.html Guest Column: "Modal Interchange"], ''Guitar Nine Records''. *[http://www.petethomas.co.uk/jazz-altered-chords.html "Altered Chords in Jazz: Modal Interchange 0 –Altered Chords"], ''Taming the Saxophone''. *[https://www.mindfulharmony.app/learn/modal-interchange "How Modal Interchange Can Transform Your Music"], Sebastian Karika, ''Mindful Harmony''.
{{Chords}} {{Chromaticism}}
{{DEFAULTSORT:Borrowed Chord}} Category:Chord progressions Category:Chords Category:Chromaticism