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Borrowed chord
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<h2 id="common-borrowed-chords">Common borrowed chords</h2> <p>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."<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> </p><p>In the minor mode, a common borrowed chord from the parallel major key is the <a href="/facts/Picardy_third/VEBSWcNT">Picardy third</a>. </p><p>In the major mode, the most common examples of borrowed chords are those involving the ♭, also known as the lowered sixth <a href="/facts/Degree_(music)/XooEJJya">scale degree</a>. These chords are shown below, in the key of C major.<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> </p> <table><tbody><tr><td><ul><li>viio7: B–D–F–A♭</li><li>iio: D–F–A♭</li><li>iiø7: D–F–A♭–C</li><li>iv: F–A♭–C</li></ul></td><th></th><td>Audio playback is not supported in your browser. You can download the audio file.</td></tr></tbody></table> <p>The next most common involve the ♭ and ♭. These chords are shown below.<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> </p> <table><tbody><tr><td><ul><li>i: C–E♭–G</li><li>♭VI: A♭–C–E♭</li><li>iv7: F–A♭–C–E♭</li><li>♭III: E♭–G–B♭</li><li>♭VII: B♭–D–F</li></ul></td><th></th><td>Audio playback is not supported in your browser. You can download the audio file.</td></tr></tbody></table> <p><a href="/facts/Chord_progression/zrB3N8Fc">Chord progressions</a> may be constructed with borrowed chords, including two progressions common in <a href="/facts/Rock_music/zBM2guyQ">rock music</a>, I–♭VII–♭VI–♭VII, common everywhere, and I–♭VI–IV (Playⓘ), used by bands like <a href="/facts/Genesis_(band)/wg5NWV74">Genesis</a>, <a href="/facts/Yes_(band)/JvrFWLEl">Yes</a>, and <a href="/facts/Nirvana_(band)/LB38lBz8">Nirvana</a>.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> ♭VII is from <a href="/facts/Mixolydian_mode/4CmY3oSv">Mixolydian</a> and ♭VI is found in both <a href="/facts/Aeolian_mode/PknDoBfA">Aeolian</a> and <a href="/facts/Phrygian_mode/Gra4clxq">Phrygian</a>.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> The ♭VII–I <a href="/facts/Cadence/9AuxqJD4">cadence</a> with ♭VII substituting for V is common, as well as ♭II–I, ♭III–I, and ♭VI–I.<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> In <a href="/facts/Popular_music/Q5yhxIwY">popular music</a>, the <a href="/facts/Major_triad/RwuuqKYS">major triads</a> on the lowered third (♭III), sixth (♭VI) and seventh (♭VII) <a href="/facts/Scale_degree/XooEJJya">scale degrees</a> are common. </p><p>Borrowed chords have typical <a href="/facts/Inverted_chord/Yj1WmLoh">inversions</a> or common positions, for example iio6 and iiø65, and progress in the same manner as the diatonic chords they replace except for ♭VI, which progresses to V(7).<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> </p> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/Aeolian_harmony/PknDoBfA">Aeolian harmony</a> – Musical modePages displaying short descriptions of redirect targets</li> <li><a href="/facts/Diatonic_function/t3ekowqY">Diatonic function</a> – Musical termPages displaying short descriptions of redirect targets</li> <li><a href="/facts/Harmonic_major/mjSFrdEs">Harmonic major</a> – Musical scalePages displaying short descriptions of redirect targets</li></ul> <h2 id="external-links">External links</h2> <ul><li><a href="https://www.youtube.com/watch?v=LNOTeF-CshU&feature">"Modal Interchange in La Fille aux Cheveux de lin by Claude Debussy"</a> on <a href="/facts/YouTube_video_(identifier)/db276jst">YouTube</a></li> <li><a href="https://www.youtube.com/watch?v=dakG0bJ3wf0">"Modal Interchange in Pop Songs"</a> on <a href="/facts/YouTube_video_(identifier)/db276jst">YouTube</a></li> <li><a href="https://web.archive.org/web/20100124065515/http://smu.edu/totw/modemix.htm">"Mode Mixture"</a>, Robert J. Frank (2000), <i>Theory on the Web</i>.</li> <li><a href="https://www.youtube.com/watch?v=xsba_EIQkTY&t">"Modal Interchange Examples in the Music of Stevie Wonder" part 2</a> on <a href="/facts/YouTube_video_(identifier)/db276jst">YouTube</a> and <a href="https://www.youtube.com/watch?v=FbWVO9e84Uc&t">part 1</a> on <a href="/facts/YouTube_video_(identifier)/db276jst">YouTube</a></li> <li><a href="http://www.berklee.edu/core/glossary.html">"Glossary: Terms Used in Writing Skills"</a>, <i>Berklee</i>.</li> <li>Mike Campese. <a href="http://www.guitar9.com/columnist286.html">Guest Column: "Modal Interchange"</a>, <i>Guitar Nine Records</i>.</li> <li><a href="http://www.petethomas.co.uk/jazz-altered-chords.html">"Altered Chords in Jazz: Modal Interchange 0 –Altered Chords"</a>, <i>Taming the Saxophone</i>.</li> <li><a href="https://www.mindfulharmony.app/learn/modal-interchange">"How Modal Interchange Can Transform Your Music"</a>, Sebastian Karika, <i>Mindful Harmony</i>.</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Benward & Saker (2009), p. 71. <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>White, William Alfred (1911). Harmonic Part-writing, p. 42. Silver, Burdett, & Co. [ISBN unspecified]. <a href="https://archive.org/details/harmonicpartwri00whitgoog" target="_blank">https://archive.org/details/harmonicpartwri00whitgoog</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Kostka, Stefan; Payne, Dorothy (2004). Tonal Harmony (5th ed.). Boston: McGraw-Hill. p. 343. ISBN 0072852607. OCLC 51613969. <a href="0072852607" target="_blank">0072852607</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Benward & Saker (2009), p. 71. <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Benward & Saker (2009), p. 74. <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>White, William Alfred (1911). Harmonic Part-writing, p. 42. Silver, Burdett, & Co. [ISBN unspecified]. <a href="https://archive.org/details/harmonicpartwri00whitgoog" target="_blank">https://archive.org/details/harmonicpartwri00whitgoog</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Sorce, Richard (1995). Music Theory for the Music Professional, p. 332. Scarecrow Press. ISBN 9781461664208. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Kostka, p. 344. <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Kostka, pp. 346–347. <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>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. <a href="/wiki/ISBN_(identifier)" target="_blank">/wiki/ISBN_(identifier)</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Romeo (1999), p. 43. <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>Benward & Saker (2009), p. 71. <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> </ol>