Module 15 — Chromatic Harmony, Borrowed Chords, and Modal Interchange
This module is where harmony starts sounding more emotionally surprising without necessarily sounding “outside.”
The big idea is:
You can temporarily borrow chords from the parallel major or minor key without actually changing the home key.
This is called modal interchange or borrowed harmony.
15.1Parallel major and minorRemember:15.2The diatonic chords in C majorC major gives:15.3The most famous borrowed chord: iv in majorIn C major:15.4Why F → Fm → C works so beautifullyF:15.5Borrowed chord versus modulationIf you play:15.6The borrowed iv is extremely practicalTry these:15.7The voice-leading formulaIn any major key:15.8Borrowed ♭VIFrom C minor, another useful chord is:15.9Borrowed ♭VIIFrom C minor:15.10Borrowed ♭IIIFrom C minor:15.11The useful borrowed-chord palette in majorIn a major key, common borrowed chords from parallel minor include:15.12Borrowed vIn C major:15.13Borrowed chords often weaken classical function but enrich colorThis is important.15.14Modal interchange means borrowing from a parallel modeThe idea is broader than just major/minor.15.15A simple progression made richerBasic:15.16Borrowed iv after IVThis is worth practicing constantly:15.17Why Fm6 works so well before CFm6:15.18Minor plagal cadenceiv → I15.19Borrowed ♭VI → VA dramatic classical/cinematic move:15.20Borrowed ♭VII → IVTry:15.21Borrowed ♭III → IV → ITry:15.22Chromatic mediantsNow a related but broader concept.15.23Hear C → EPlay:15.24C → A♭Play:15.25Chromatic mediants are not the same as secondary dominantsImportant distinction.15.26Borrowed chords versus secondary dominantsCompare:15.27Another powerful chromatic line: 5 → ♯5 → 6Try:15.28Combine both linesTry:15.29Make the chromatic line explicitKeep a top or inner note:15.30Borrowed chords can support melody notes outside the keySuppose you're in C major but melody has A♭.15.31Example: melody A♭Possible harmonies in C-major context:15.32Modal mixture in minor keysBorrowing works in the other direction too.15.33Picardy thirdA piece in minor ends on a major tonic.15.34Borrowing IV into minorIn C minor:15.35Modal sound from ♭VIIIn C major:15.36Modal harmony often avoids strong V–I gravityFunctional harmony:15.37Reharmonization by modal interchangeSuppose melody is originally harmonized:15.38Borrowed chord testFor every candidate borrowed chord ask:15.39Voice leading is the glueChromatic harmony sounds convincing when individual notes move smoothly.15.40Another smooth chromatic chord: E♭C:15.41Don't judge chords only by root movementTwo roots may look unrelated, but upper voices may connect beautifully.15.42Build a minor-plagal endingTry:15.43Another endingTry:15.44Another pop/modal endingTry:15.45Chromatic mediant color exercisePlay:15.46Melody-first chromatic reharmonizationSuppose melody note is E.15.47Borrowed chords can create a bass lineExample:15.48Play that bass alone firstC B B♭ A A♭ G15.49Chromatic bass can be more important than chord labelsWhen you hear a sophisticated arrangement, sometimes the magic is not “a fancy chord.”15.50Improvising over borrowed chordsIf progression is:15.51Over ♭VIIIf:15.52Modal interchange is not “use random black keys”The borrowed notes have structural meaning.15.53Your practical borrowed-chord toolkitFor now, memorize these in a major key:15.54Combine secondary dominants and borrowed chordsTry:15.55Analyze the emotional architectureThe progression above does:15.56Use borrowed harmony sparingly at firstA single Fm in a C-major song can be striking.15.57Reharmonization assignmentTake a simple melody in C you've already harmonized.15.58A useful diagnostic questionWhenever you see a chord outside the key, ask:•Homework for Module 15Play:•Module 15 mini-test1. What is a borrowed chord?