Transfer (group theory)
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A borrowed chord (also called mode mixture and[1] modal interchange) 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 variety through contrasting scale forms, major and the three forms of minor.[2] Similarly chords may be borrowed from the parallel modes, the various modes beginning on the same tonic, for example Dorian or Phrygian.[1]
Six chords borrowed from the parallel minor key are commonly found in the Baroque, Classical and Romantic eras (shown here in C major):
Diminished supertonic triad (iio): D - F - ATemplate:Music Half-diminished supertonic seventh (iiØ7): D - F - ATemplate:Music - C "Flat three" (Template:MusicIII): ETemplate:Music - G - BTemplate:Music Minor subdominant (iv): F - ATemplate:Music - C "Flat six" (Template:MusicVI): ATemplate:Music - C - ETemplate:Music Fully diminished leading-tone seventh (viio7): B - D - F - ATemplate:Music
The following three chords are also found in Romantic era, albeit rarely:
Minor subdominant seventh (ivTemplate:Music7): F - ATemplate:Music - C - ETemplate:Music Major-minor subdominant seventh (IVTemplate:Music7): F - A - C - ETemplate:Music Dominant flat ninth (VTemplate:Music9): G - B - D - F - ATemplate:Music
The major-minor subdominant seventh, which contains an ATemplate:Music, is borrowed from the parallel ascending melodic minor scale.
If the root of the borrowed chord is not in the original key, then the chord is named by the accidental. For instance, in a major key, a chord built on the parallel minor's sixth degree is a "flat six chord" written Template:MusicVI.
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Chord progressions may be constructed with borrowed chords, including two progressions common in rock music, I - Template:MusicVII - Template:MusicVI - Template:MusicVII, common everywhere, and I - Template:MusicVI - IV, used a lot by bands including Genesis, Yes and Nirvana.[1] Template:MusicVII is from Mixolydian and Template:MusicVI is found in both Aeolian and Phrygian.[1] The Template:MusicVII-I cadence with Template:MusicVII substituting for V is common, as well as Template:MusicII-I, Template:MusicIII-I, and Template:MusicVI-I.[3] In popular music, the major triad on the lowered third scale degree (Template:MusicIII), the major triad on the lowered sixth scale degree (Template:MusicVI) and the major triad on the lowered seventh scale degree, or "flat seven" (Template:MusicVII, in C major: BTemplate:Music, D, F) are common. For more examples of borrowed chords in popular music, see list of songs with chromatic harmony.
A common borrowed chord from a parallel major key is the Picardy third.
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Look into my weblog :: http://www.hostgator1centcoupon.info/. Template:MusicVII7 is borrowed from the parallel minor rather than Mixolydian as Template:MusicVII may be.
In major the typical chords borrowed from minor are iv, Template:MusicVI, Template:MusicVII, and in jazz, the iiTemplate:Music.[4] The Template:MusicVII is also known as the subtonic. The lowered-sixth occurs in many of the chords borrowed from minor and is a, "distinctive characteristic," of borrowed chords.[2] Borrowed chords have typical inversions or common positions, for example iiTemplate:Music6 and iiTemplate:Music, and progress in the same manner as the diatonic chords they replace except for Template:MusicVI, which progresses to V(7).[2]
See also
Sources
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External links
- "Mode Mixture", Robert J. Frank, Theory on the Web.
- "Glossary: Terms Used in Writing Skills", Berklee.
- Mike Campese. Guest Column: "Modal Interchange", Guitar Nine Records.
- "Altered Chords in Jazz: Modal Interchange - Altered Chords", Taming the Saxophone.
Template:Chords Template:Chromaticism
- ↑ 1.0 1.1 1.2 1.3 Romeo, Sheila (1999). Complete Rock Keyboard Method: Mastering Rock Keyboard, p.42. ISBN 0-88284-982-4.
- ↑ 2.0 2.1 2.2 Benward & Saker (2009). Music in Theory and Practice, Vol II, p.71. ISBN 978-0-07-310188-0.
- ↑ Romeo (1999), p.43.
- ↑ Schonbrun, Marc (2006). The Everything Music Theory Book, p.138. ISBN 1-59337-652-9.