# Borrowed chords

*Module 14 · Lesson 4: Beyond the key · BazzLow*

> Recognise chords borrowed from the parallel key (modal interchange).

Before this lesson: [14.3 Secondary dominants](https://bazzlow.com/en/beyond-the-key/secondary-dominants/) · [6.3 Parallel major and minor](https://bazzlow.com/en/minor-scales/parallel-major-and-minor/) · [13.2 The seven modes, one by one](https://bazzlow.com/en/modes/seven-modes/)

A song in a major key sometimes uses a chord that is not in the major scale at all. It is not a mistake: it is borrowed from the parallel minor.

## Modal interchange

**Modal interchange** (borrowing) means using, in a major key, chords from its **parallel minor** (lesson 6.3) or from other parallel modes, or the reverse. A chord taken this way is a **borrowed chord**. The most common borrowings in a **major** key come from the parallel minor (C major borrowing from C minor):

*The most common chords borrowed from the parallel minor in a major key.*

| Numeral | In C | Typical use |
| --- | --- | --- |
| iv | Fm | IV → iv → I, a softer, sadder return home |
| ♭VI | A♭ | ♭VI → ♭VII → I, a “rock” approach to the tonic |
| ♭VII | B♭ | ♭VII → I, or as a substitute for IV or V |
| ♭III | E♭ | colour, often with ♭VII |
| ii° / iiø7 | D° / Dø7 | before V, darker than ii |

*The borrowed chords in four major keys.*

| Key | iv | ♭VI | ♭VII | ♭III | ii° |
| --- | --- | --- | --- | --- | --- |
| C | Fm | A♭ | B♭ | E♭ | D° |
| G | Cm | E♭ | F | B♭ | A° |
| D | Gm | B♭ | C | F | E° |
| F | B♭m | D♭ | E♭ | A♭ | G° |

The **♭VII**, the **flat seven chord**, is the most frequent borrowed chord in rock and pop. It is also the chord of the Mixolydian mode (lesson 13.5). Unlike V and vii°, it has no leading tone, so its pull toward I is softer. It often moves to IV or to I.

In a **minor** key the borrowing goes the other way: the **major V** is so common that it counts as standard (lesson 8.3); the **major IV** gives a Dorian colour; and a **major I** at the very end of a minor piece is a traditional effect, the **Picardy third**.

## For the bass

Borrowed chords often create chromatic or stepwise bass motion. ♭VI → ♭VII → I is A♭ → B♭ → C, rising by whole steps. IV → iv keeps the same root (F → F) while the 3rd changes, so the bass can stay put while the colour changes above it. Borrowed chords use the flats of the parallel minor: ♭VI in C is A♭, not G♯.

> **Diagram:** The roots of C – A♭ – B♭ – C: C fret 3 on the A string; A♭ fret 4 and B♭ fret 6 on the E string; C again.

> **Diagram:** The roots of C – F – Fm – C: the bass stays on F (fret 1 on the E string) while the chord changes from major to minor.

## Try it

Play roots of C–F–Fm–C (stay on F for two bars while the chord changes), then C–A♭–B♭–C. Describe the colour each borrowed chord adds.

## New terms

- modal interchange
- borrowed chord
- flat seven chord
- Picardy third

Page: https://bazzlow.com/en/beyond-the-key/borrowed-chords/