bVI = C (C, E, G) Notice the way the inflection of the song seems to change when the Db chord arrives. iv in B major: E minor (E, G, B) The second time through the progression, though, the fourth chord suddenly changes to Bb major, a IV chord. The Bb minor chord would not normally be a part of F major, but it is native to F minor – it contains a Db, which is in the key of f minor but not the key of F major. Now let’s look at the opening lines of another Radiohead song, “Creep,” which is in the key of G. (Borrowed chords are a big part of Radiohead’s sound – probably no other currently popular artist uses them as frequently or as effectively.) The ♭VII is one of the most common borrowed chords in popular music. IV in D minor Borrowed chords don’t appear naturally in a particular song’s key. The song’s first four chords form a i-VI-VII-iv progression in F minor. Radiohead repeats this progression over and over, so this is a great song to listen to in order to appreciate how these chords (secondary dominants, deceptive resolutions, and borrowed chords) sound. The Bb major chord stands out, then, as an element that is simply borrowed from another key. iv isn’t our only borrowed-chord option. A simple example of a borrowed iv chord occurs in the intro to Radiohead’s “No Surprises.”. We will not worry much about that here and will instead focus on how best to use the IV chord in a minor key, whether or not it relates to the melodic minor scale.) Of these chords, iv is the most common. We will not worry much here about that distinction. The first three chords are i, V and III, which seems straightforward enough. bIII = G (G, B, D) (Try using a C#m chord in a chord progression in A minor. D# is the leading tone to E, so we can label the B chord as V/vi – a secondary dominant pointing at E minor. This is our borrowed chord. Another chord that can be borrowed from parallel major while in a minor key is IV. iv = Am (A, C, E) We expect iv here (E minor) rather than IV (E major), so the arrival of E major comes as a small surprise, particularly with the rogue note of G# in the bass. So the B chord is a secondary dominant with a deceptive resolution. The song's melody will sound like it is "bursting at the seams" Pop songs in minor can also contain Picardy thirds, as in this example from the Zombies’ “Time of the Season.” The song is in E minor, but its chorus ends with a prominent E major chord. In Chapter 1, we discussed the concepts of relative major and relative minor, which referred to major and minor keys that shared exactly the same notes. The leading-tone IAC is one of the cases here (although it does not really use the leading-tone). In major keys, the iv, or 'minor fourth' can be heard going all the way back to Chopin (Nocturne in E flat major), Lizt (Liebestraum holy shit it's sooo obvious in this one), and Debussy (Clair de Lune). bIII in F major Let's look at the minor keys now. To find borrowed chords we might use in a major key, we will pretend like we’re in the parallel minor key, then think through what the iio, III, iv, VI and viio7 would be in that key. Two keys are parallel when they share the same tonic. The mood of the song then seems to return to normal as the Db changes to Gm7, a chord that fits squarely within the key of F. It will be somewhat rarer for us to use borrowed chords when we’re in a minor key. Borrowed Chords are transient chords; they appear in the song suddenly and, soon after, the song resumes its tonal harmony. Write a verse that includes a borrowed chord. Chords borrowed from the parallel major do occasionally occur in minor keys, however. In short, the word "borrowed" refers to changing to a chord that, instead of being in the natural key we started in (e.g. But then how do we analyze the B major chord in measure 3? Borrowed chords have typical inversions or common positions, for example iio6 and iiø65, and progress in the same manner as the diatonic chords they replace except for ♭VI, which progresses to V(7). We would normally expect the chord built around the fourth scale degree to be Bb minor, but Green Day instead uses Bb major, a chord borrowed from the F major scale. The Bb minor chord would not normally be a part of F major, but it is native to F minor– it contains a Db, which is in the key of f minor but not the key of F major. Green Day’s “Boulevard of Broken Dreams” features a prominent IV chord in the verse, which is in F minor. The melody comes exclusively from F minor, and the verse is a straightforward VI-III-VI-i progression in F minor. A borrowed chord (vii o4 3 = B–D–F–A ♭) in J.S. Some common borrowed chords in C major: 1) On the 2nd tone of the scale, instead of playing your normal D minor (or 2-minor), you could play D half-diminished 7. [11] In popular music, the major triad on the lowered third scale degree (♭III), the major triad on the lowered sixth scale degree (♭VI) and the major triad on the lowered seventh scale degree, or "flat seven" (♭VII) are common. This B major chord is borrowed from the key of B major (which probably feels silly to read, but is worth stopping for a second to consider), and its use in “Exit Music (For a Film)” creates a sense of ambiguity, as if the song is bouncing back and forth between two different keys.
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