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| {{For|borrowed chord progressions|Borrowed chord progression}}
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| [[File:BVII borrowed chord in C major.png|thumb|350px|right|A I chord, C major, followed by a {{music|b}}VII chord, B{{music|flat}} major, borrowed from the parallel minor, C minor. Shown first in C major then minor.]]
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| A '''borrowed chord''' (also called '''mode mixture''' and<ref name="Romeo">Romeo, Sheila (1999). ''Complete Rock Keyboard Method: Mastering Rock Keyboard'', p.42. ISBN 0-88284-982-4.</ref> '''modal interchange''') is a [[chord (music)|chord]] borrowed from the [[parallel key]] ([[minor scale|minor]] or [[major scale]] with the same [[tonic (music)|tonic]]). Borrowed chords are typically used as "color chords", providing variety through contrasting scale forms, major and the three forms of minor.<ref name="B&S">Benward & Saker (2009). ''Music in Theory and Practice, Vol II'', p.71. ISBN 978-0-07-310188-0.</ref> Similarly chords may be borrowed from the parallel [[musical mode|modes]], the various modes beginning on the same tonic, for example [[Dorian mode|Dorian]] or Phrygian.<ref name="Romeo"/>
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| Six chords borrowed from the parallel minor key are commonly found in the [[Baroque music|Baroque]], [[Classical Music Era|Classical]] and [[Romantic music|Romantic]] eras (shown here in C major):
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| [[Image:Borrowed chords 1b.gif]]
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| [[Diminished triad|Diminished]] [[supertonic]] triad (ii<sup>o</sup>): D - F - A{{Music|flat}}
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| [[Half-diminished seventh chord|Half-diminished]] supertonic [[Half-diminished_seventh_chord#Supertonic_with_minor_seventh_in_minor|seventh]] (ii<sup>Ø7</sup>): D - F - A{{Music|flat}} - C
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| "Flat [[mediant|three]]" ({{Music|flat}}III): E{{Music|flat}} - G - B{{Music|flat}}
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| [[Minor chord|Minor]] [[subdominant]] (iv): F - A{{Music|flat}} - C
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| "Flat [[submediant|six]]" ({{Music|flat}}VI): A{{Music|flat}} - C - E{{Music|flat}}
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| [[Diminished seventh chord|Fully diminished]] [[leading-tone]] seventh (vii<sup>o</sup><sup>7</sup>): B - D - F - A{{Music|flat}}
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| The following three chords are also found in Romantic era, albeit rarely:
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| [[Image:Borrowed chords 2.gif]]
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| Minor subdominant seventh (iv<sup>{{Music|flat}}7</sup>): F - A{{Music|flat}} - C - E{{Music|flat}}
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| Major-minor subdominant seventh (IV<sup>{{Music|flat}}7</sup>): F - A - C - E{{Music|flat}}
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| [[Dominant (music)|Dominant]] flat [[ninth]] (V<sup>{{Music|flat}}9</sup>): G - B - D - F - A{{Music|flat}}
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| The major-minor subdominant seventh, which contains an A{{music|natural}}, is borrowed from the parallel ascending [[melodic minor]] scale.
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| If the [[root (chord)|root]] of the borrowed chord is not in the original [[key (music)|key]], then the chord is named by the [[Accidental (music)|accidental]]. For instance, in a major key, a chord built on the parallel minor's sixth degree is a "flat six chord" written {{Music|flat}}VI.
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| [[File:I bVII bVI bVII in C.png|thumb|right|350px|I - {{music|flat}}VII - {{music|flat}}VI - {{music|flat}}VII in C {{audio|I bVII bVI bVII in C.mid|Play}}.]]
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| [[Chord progression]]s may be constructed with borrowed chords, including two progressions common in rock music, I - {{music|flat}}VII - {{music|flat}}VI - {{music|flat}}VII, common everywhere, and I - {{music|flat}}VI - IV, used a lot by bands including [[Genesis (band)|Genesis]], [[Yes (band)|Yes]] and [[Nirvana (band)|Nirvana]].<ref name="Romeo"/> {{music|flat}}VII is from [[Mixolydian mode|Mixolydian]] and {{music|flat}}VI is found in both [[Aeolian mode|Aeolian]] and [[Phrygian mode|Phrygian]].<ref name="Romeo"/> The {{music|b}}VII-I cadence with {{music|b}}VII substituting for V is common, as well as {{music|b}}II-I, {{music|b}}III-I, and {{music|b}}VI-I.<ref>Romeo (1999), p.43.</ref> In [[popular music]], the [[major triad]] on the lowered third [[scale degree]] ({{Music|flat}}III), the major triad on the lowered sixth scale degree ({{Music|flat}}VI) and the major triad on the lowered seventh scale degree, or "flat seven" ({{Music|flat}}VII, in C major: B{{Music|flat}}, D, F) are common. For more examples of borrowed chords in popular music, see [[list of songs with chromatic harmony]].
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| A common borrowed chord from a parallel major key is the [[Picardy third]].
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| [[Image:Backdoor progression in C.png|thumb|300px|"[[Backdoor progression]] ii-V" in C: ii-{{music|flat}}VII<sup>7</sup>-I {{audio|Backdoor progression in C.mid|Play}}. {{music|flat}}VII<sup>7</sup> is borrowed from the parallel minor rather than Mixolydian as {{music|flat}}VII may be.]]
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| In major the typical chords borrowed from minor are iv, {{music|b}}VI, {{music|b}}VII, and in jazz, the ii{{music|diminished}}.<ref>Schonbrun, Marc (2006). ''The Everything Music Theory Book'', p.138. ISBN 1-59337-652-9.</ref> The {{music|b}}VII is also known as the [[subtonic]]. The lowered-sixth occurs in many of the chords borrowed from minor and is a, "distinctive characteristic," of borrowed chords.<ref name="B&S"/> Borrowed chords have typical inversions or common positions, for example ii{{music|diminished}}<sup>6</sup> and ii{{music|halfdiminished}}<math>{}^6_5</math>, and progress in the same manner as the diatonic chords they replace except for {{music|flat}}VI, which progresses to V(7).<ref name="B&S"/>
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| ==See also==
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| *[[Aeolian harmony]]
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| *[[Diatonic function]]
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| *[[List of songs with chromatic harmony]]
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| ==Sources==
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| {{reflist}}
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| ==External links==
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| *[http://www.smu.edu/totw/modemix.htm "Mode Mixture"], Robert J. Frank, ''Theory on the Web''.
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| *[http://www.berklee.edu/core/glossary.html "Glossary: Terms Used in Writing Skills"], ''Berklee''.
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| *Mike Campese. [http://www.guitar9.com/columnist286.html Guest Column: "Modal Interchange"], ''Guitar Nine Records''.
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| *[http://www.petethomas.co.uk/jazz-altered-chords.html "Altered Chords in Jazz: Modal Interchange - Altered Chords"], ''Taming the Saxophone''.
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| {{Chords}}
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| {{Chromaticism}}
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| {{DEFAULTSORT:Borrowed Chord}}
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| [[Category:Chord progressions]]
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| [[Category:Chords]]
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| [[Category:Chromaticism]]
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