In a coming part, we'll look at a type of chord borrowing known as modal interchange. Sometimes, when a chord change takes us outside the natural key and parent scale, the outside chord can be seen as borrowed from modes such as Lydian, Mixolydian and Dorian. Dm7♭5)Īnother way of seeing it that these chords, borrowed from the parallel minor key, use the same sevenths and extensions as they would in their natural minor key. The five borrowed chords we looked at have their own "natural" seventh types that will work with the parallel minor scale. If the chords are seventh chords as opposed to simply major or minor, this might change the notes we use. Here we have the natural chords in the key of C major, numbered 1 to 7 (often represented using Roman numerals - I to vii). Let's go through some practical examples of borrowed chords. So learning about them is useful for knowing when to change the notes in your solo or harmony part to complement the change.īut, as a songwriter, it's also a good way of making your chord progressions a little less predictable, yet still pleasing to the ear and natural sounding. Such changes occur a lot in popular (and less popular!) music. So it's like a temporary change of key but, as we'll discover, it's more useful to think of it as a temporary change of scale. C major and C minor have the same tonic root of C, for example, so these are considered parallel keys.Įven though the natural key of C minor contains different chords to C major, its chords can be "borrowed" to be included as part of a C major key progression. So a borrowed chord is a chord taken from a key that has the same tonic root. The word parallel in this context means "on the same tonic root". C major), can be seen as a part of a parallel key (e.g. In short, the word "borrowed" refers to changing to a chord that, instead of being in the natural key we started in (e.g.
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