Borrowed chord

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For borrowed chord progressions, see
Borrowed chord progression
.
{ #(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 } >> >> >> }

A borrowed chord (also called mode mixture,

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

{ #(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" } } } <b fis'> <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) } >> >> >> }
Borrowed chord (viio4
3 = G♯–B–D–F♮) in Mozart's Piano Sonata No. 18, mvmt. II[7]

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]

  • viio7: B–D–F–A♭
  • iio: D–F–A♭
  • iiø7: D–F–A♭–C
  • iv: F–A♭–C
{ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 <b d f aes>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 "||" } }

The next most common involve the ♭scale degree 3 and ♭scale degree 7. These chords are shown below.[9]

  • i: C–E♭–G
  • ♭VI: A♭–C–E♭
  • iv7: F–A♭–C–E♭
  • ♭III: E♭–G–B♭
  • ♭VII: B♭–D–F
{ \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 "||" } }
{ \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 "||" } }
I–♭VII–♭VI–♭VII in C[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 "||" } }
Backdoor progression in C. ♭VII7 is borrowed from the parallel minor rather than Mixolydian as ♭VII may be.
V of V to V to I."[10]

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

  • Aeolian harmony
     – Musical mode
  • Diatonic function
     – Musical term
  • Harmonic major
     – Musical scale

References

  1. ^
    ISBN 9780739043127
    .
  2. ^ a b c Benward & Saker (2009), p. 71.
  3. ^ a b White, William Alfred (1911). Harmonic Part-writing, p. 42. Silver, Burdett, & Co. [ISBN unspecified].
  4. OCLC 51613969
    .
  5. ^ Benward & Saker (2009), p. 74.
  6. ISBN 9781461664208
    .
  7. ISBN 978-0-07-310188-0
    .
  8. ^ Kostka, p. 344.
  9. ^ Kostka, pp. 346–347.
  10. ISBN 0-396-06752-2
    . Original with Roman numeral analysis only.
  11. ^ Romeo (1999), p. 43.

External links

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