Module 15 mini-test

1. What is a borrowed chord?

2. What is the parallel minor of C major?

3. What is iv in C major when borrowed from C minor?

4. What inner chromatic line makes F → Fm → C so effective?

5. What is ♭VI in C major?

6. What is ♭VII in C major?

7. What is the difference between a borrowed chord and a secondary dominant?

8. What is a minor plagal cadence?

9. What does modal interchange mean?

10. Give one progression in C containing both a secondary dominant and a borrowed chord.

Answers

1. A chord taken temporarily from a parallel mode/key while the original tonic remains in effect.
2. C minor
3. Fm
4. A → A♭ → G
5. A♭ major
6. B♭ major
7. A secondary dominant has directional dominant function toward a temporary target; a borrowed chord usually introduces color from a parallel mode.
8. iv → I, for example Fm → C.
9. Borrowing harmonic material from a parallel mode while maintaining the same tonic.
10. For example: C → E7 → Am → F → Fm → C.

The key lesson is:

Chromatic harmony sounds convincing when the altered notes have a reason to be there—especially when they create smooth voice leading.

A single note such as A → A♭ → G can explain an entire borrowed-chord progression better than a page of chord labels.

Module 16 is where we shift strongly toward improvisation: how to build a solo from chord tones, target 3rds and 7ths, connect chords melodically, create motifs, and stop sounding like you're merely running scales up and down.