Lesson 31 Borrowed Chords

Lesson 31 Borrowed Chords

Part I - Mode mixture

It is possible to mix two different modes(scales) together.  Most often chords from the minor scale are borrowed for the major scale.  This is especially true of Baroque music.  When a composer wrote a piece in a minor scale almost 100% of the time the final chord would be a Major I instead of the minor i.  This came to be known as the Pichardy third

Part II - Altered scale degrees and chord qualities

Altered Scale degrees from minor, used in Major keys.

lowered third 

lowered sixth

lowered seventh

Altered scale degrees from Major, used in minor keys.

raised third

A variety of chords can be constructed using these altered scale degrees. The borrowed chord qualities are:

diminished supertonic triad (ii°)

half diminished supertonic seventh (ii^ø7)
minor subdominant triad (iv)
Major submediant triad (VI)
fully diminished leading-tone seventh chord (vii°⁷)

Chords borrowed from minor keys for use in Major Keys:
Triads:
ii°
iv
VI

Seventh chords:
ii^ø7
vii°7

Chords borrowed from Major keys for use in minor keys
Triads:
I

Part III - Borrowed Chords
You can see in the examples that the borrowed chord is analyzed with a (B) under the analysis to signify that they are borrowed from the parallel key.  In the first example. the minor iv chord is borrowed from c minor.

Fig.1 Borrowed iv

Listen:

Here, the diminished ii triad is borrowed from the minor key.

Fig.2 borrowed ii°

Listen:

The borrowed VI is often used at deceptive cadences rather than within a chord progression.  It creates a very distinct sound when following a Major dominant triad.

Fig.3 borrowed VI

Listen:

Here, we have the borrowed vii°⁷ from the minor scale for use in the Major scale.  It is rare.

Fig.4 borrowed vii°⁷

^Listen:

^{Finally, here is the Major I borrowed from the Major scale for the minor scale}

Fig.5 Borrowed I

Listen: