Back
Secondary Leading Tone chords | Up
Harmony for Musicians | Next
Chapter 15 - Chromatic Alterations |
[ Back ] [ Home ] [ Up ] [ Next ]
CHAPTER 14
Borrowed Chords
BORROWED CHORDS
Chords in a major key may be borrowed from the parallel minor and chords in a minor key may be borrowed from the parallel major. Continuous use of borrowed chords may effect a modulation to the parallel key. BORROWED FROM MINOR
When writing in a major key, the following chords may be borrowed from the parallel minor:
 FIGURE 14.1. The Borrowed Supersonic from Minor
 FIGURE 14.2. The Borrowed
 FIGURE 14.3. The Borrowed Subdominant in a Plagal Cadence
Extensions on the dominant chord
 FIGURE 14.4.
 FIGURE 14.5. The Borrowed Submediant
Non-harmonic tones occurring with borrowed chords must be borrowed from the parallel minor.
 FIGURE 14.6. Non-harmonic Tones Used with Borrowed Chords
Overuse of borrowed chords and accompanying non-harmonics should be avoided as modulation may occur. BORROWED FROM MAJOR
When writing in a minor key, the following chords may be borrowed from the parallel major: Dominant (maj.) and Dominant Seventh
Leading tone triad (dim.)
Picardy third on tonic chord (maj.)
Supersonic chord (min.) when harmonizing the raised sixth scale degree in ascending form of melodic minor scale. Non-harmonic tones occurring with borrowed chords must be borrowed from the parallel major.
[ Back ] [ Home ] [ Up ] [ Next ]
This information is now available on CD in Adobe PDF Printable Format
| 