Borrowed chord
<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> 3 = F–A♭-B-D) in J.S. Bach's Prelude No. 1 in C major from The Well-Tempered Clavier
A borrowed chord (also called mode mixture,[1] modal mixture,[2] substituted chord,[3] modal interchange,[1] or mutation[4]) 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.[2] Chords may also be borrowed from other parallel modes besides the major and minor mode, for example D Dorian with D major.[1] The mixing of the major and minor modes developed in the Baroque period.[5]
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[3] and may be distinguished from secondary chords[6] as well as altered 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
[edit | edit source]<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" } } }
<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> 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 the Picardy third.
In the major mode, the most common examples of borrowed chords are those involving the ♭scale degree 6, also known as the lowered sixth scale degree. These chords are shown below, in the key of C major.[8]
|
<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble
\time 4/4
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 ♭scale degree 3 and ♭scale degree 7. These chords are shown below.[9]
|
<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> |
<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 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 " 
Chord progressions may be constructed with borrowed chords, including two progressions common in rock music, I–♭VII–♭VI–♭VII, common everywhere, and I–♭VI–IV (<phonos file="Borrowed chord I bVI IV.mid">Play</phonos>), used by bands like Genesis, Yes, and Nirvana.[1] ♭VII is from Mixolydian and ♭VI is found in both Aeolian and Phrygian.[1] The ♭VII–I cadence with ♭VII substituting for V is common, as well as ♭II–I, ♭III–I, and ♭VI–I.[11] In popular music, the major triads on the lowered third (♭III), sixth (♭VI) and seventh (♭VII) scale degrees are common.
Borrowed chords have typical inversions 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
[edit | edit source]- Aeolian harmony – Musical mode
- Diatonic function – Musical term
- Harmonic major – Musical scale
References
[edit | edit source]
- ^ a b c d e f g h i Romeo, Sheila (1999). Complete Rock Keyboard Method: Mastering Rock Keyboard, p. 42. Lua error in Module:Citation/CS1/Configuration at line 2172: attempt to index field '?' (a nil value).. Bouchard, Joe and Romeo, Sheila (2007). The Total Rock Keyboardist, p. 120. Alfred Music. Lua error in Module:Citation/CS1/Configuration at line 2172: attempt to index field '?' (a nil value)..
- ^ a b c Benward & Saker (2009), p. 71.
- ^ a b White, William Alfred (1911). Harmonic Part-writing, p. 42. Silver, Burdett, & Co. [ISBN unspecified].
- ^ Lua error in Module:Citation/CS1/Configuration at line 2172: attempt to index field '?' (a nil value).
- ^ Benward & Saker (2009), p. 74.
- ^ Sorce, Richard (1995). Music Theory for the Music Professional, p. 332. Scarecrow Press. Lua error in Module:Citation/CS1/Configuration at line 2172: attempt to index field '?' (a nil value)..
- ^ Benward & Saker (2009). Music in Theory and Practice, Vol II, p. 75. 8th edition. McGraw Hill. Lua error in Module:Citation/CS1/Configuration at line 2172: attempt to index field '?' (a nil value)..
- ^ Kostka, p. 344.
- ^ Kostka, pp. 346–347.
- ^ Cooper, Paul (1975). Perspectives in Music Theory, p. 216. New York: Dodd, Mead, and Company. Lua error in Module:Citation/CS1/Configuration at line 2172: attempt to index field '?' (a nil value).. Original with Roman numeral analysis only.
- ^ Romeo (1999), p. 43.
External links
[edit | edit source]- "Modal Interchange in La Fille aux Cheveux de lin by Claude Debussy" on YouTube
- "Modal Interchange in Pop Songs" on YouTube
- "Mode Mixture", Robert J. Frank (2000), Theory on the Web.
- "Modal Interchange Examples in the Music of Stevie Wonder" part 2 on YouTube and part 1 on YouTube
- "Glossary: Terms Used in Writing Skills", Berklee.
- Mike Campese. Guest Column: "Modal Interchange", Guitar Nine Records.
- "Altered Chords in Jazz: Modal Interchange 0 –Altered Chords", Taming the Saxophone.
- "How Modal Interchange Can Transform Your Music", Sebastian Karika, Mindful Harmony.
