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Borrowed chord

From Wikipedia, the free encyclopedia
Chord borrowed from the parallel key
For borrowed chord progressions, seeBorrowed chord progression.
Borrowed chord (viio4
3 = F–A♭-B-D) inJ.S. Bach'sPrelude No. 1 in C major fromThe Well-Tempered Clavier

Aborrowed chord (also calledmode mixture,[1]modal mixture,[2]substituted chord,[3]modal interchange,[1] ormutation[4]) is achord borrowed from theparallel key (minor ormajor scale with the sametonic). 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.[2] Chords may also be borrowed from other parallelmodes besides the major and minor mode, for example DDorian with D major.[1] The mixing of the major and minor modes developed in theBaroque period.[5]

Borrowed chords are distinguished frommodulation by being brief enough that the tonic is not lost or displaced, and may be considered brief or transitory modulations[3] and may be distinguished fromsecondary chords[6] as well asaltered chords.[1] According to Sheila Romeo, "[t]he borrowed chord suggests the sound of its own mode without actually switching to that mode."[1]

Common borrowed chords

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Borrowed chord (viio4
3 = G♯–B–D–F♮) inMozart'sPiano Sonata No. 18, mvmt. II[7]

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."[1]

In the minor mode, a common borrowed chord from the parallel major key is thePicardy third.

In the major mode, the most common examples of borrowed chords are those involving the♭scale degree 6, also known as the lowered sixthscale degree. These chords are shown below, in the key of C major.[8]

  • viio7: B–D–F–A♭
  • iio: D–F–A♭
  • iiø7: D–F–A♭–C
  • iv: F–A♭–C

The next most common involve the♭scale degree 3 and♭scale degree 7. These chords are shown below.[9]

  • i: C–E♭–G
  • ♭VI: A♭–C–E♭
  • iv7: F–A♭–C–E♭
  • ♭III: E♭–G–B♭
  • ♭VII: B♭–D–F
I–♭VII–♭VI–♭VII in C[1]
Backdoor progression in C.♭VII7 is borrowed from the parallel minor rather than Mixolydian as♭VII may be.
Phrase fromCésar Franck'sVariations symphoniques (1885), with chromaticism from use of borrowed chords and descendinglinear motion and, "resolute movement fromV of V toV toI."[10]

Chord progressions may be constructed with borrowed chords, including two progressions common inrock music, I–♭VII–♭VI–♭VII, common everywhere, and I–♭VI–IV (Playⓘ), used by bands likeGenesis,Yes, andNirvana.[1]♭VII is fromMixolydian and♭VI is found in bothAeolian andPhrygian.[1] The♭VII–Icadence with♭VII substituting for V is common, as well as♭II–I,♭III–I, and♭VI–I.[11] Inpopular music, themajor triads on the lowered third (♭III), sixth (♭VI) and seventh (♭VII)scale degrees are common.

Borrowed chords have typicalinversions or common positions, for example iio6 and iiø6
5, and progress in the same manner as the diatonic chords they replace except for♭VI, which progresses to V(7).[2]

See also

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  • Aeolian harmony – Musical modePages displaying short descriptions of redirect targets
  • Diatonic function – Musical termPages displaying short descriptions of redirect targets
  • Harmonic major – Musical scalePages displaying short descriptions of redirect targets

References

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  1. ^abcdefghiRomeo, 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.
  2. ^abcBenward & Saker (2009), p. 71.
  3. ^abWhite, William Alfred (1911).Harmonic Part-writing, p. 42. Silver, Burdett, & Co. [ISBN unspecified].
  4. ^Kostka, Stefan; Payne, Dorothy (2004).Tonal Harmony (5th ed.). Boston: McGraw-Hill. p. 343.ISBN 0072852607.OCLC 51613969.
  5. ^Benward & Saker (2009), p. 74.
  6. ^Sorce, Richard (1995).Music Theory for the Music Professional, p. 332. Scarecrow Press.ISBN 9781461664208.
  7. ^Benward & Saker (2009).Music in Theory and Practice, Vol II, p. 75. 8th edition. McGraw Hill.ISBN 978-0-07-310188-0.
  8. ^Kostka, p. 344.
  9. ^Kostka, pp. 346–347.
  10. ^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.
  11. ^Romeo (1999), p. 43.

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