Modal Borrowing

Modal borrowing is a fascinating and widely used technique in musical composition that allows the incorporation of chords from other modes within a predominant key. This practice adds color and harmonic variety, enriching the sound palette of a musical piece. In this article, we will explore the concept of modal borrowing, its application, and notable examples in music. AEM stands for Modal Borrowing Chord.

In other words, modal borrowing refers to the use of chords from parallel modes within a composition in a specific key. Modes are scales derived from the major scale, and each mode has a distinct tonal characteristic. The most common modes are:

• Ionian (Major)
• Dorian
• Phrygian
• Lydian
• Mixolydian
• Aeolian (Natural Minor)
• Locrian

When a composer uses chords from a different mode within a key, they are "borrowing" from these modes to create harmonic variety and surprise.

Considering all modes, there are several alternatives for AEM that can be applied in music. Below, check the chords of the harmonic fields of the main modes available in the key of C:

• Ionian (major):
  • I: C7M
  • II: Dm7
  • III: Em7
  • IV: F7M
  • V: G7
  • VI: Am7
  • VII: Bm7(b5)
• Dorian:
  • I: Cm7
  • II: Dm7
  • III: Eb7M
  • IV: F7
  • V: Gm7
  • VI: Am7(b5)
  • VII: Bb7M
• Phrygian:
  • I: Cm7
  • II: Db7M
  • III: Eb7
  • IV: Fm7
  • V: Gm7
  • VI: Ab7
  • VII: Bbm7
• Lydian:
  • I: C7M
  • II: D7
  • III: Em7
  • IV: F#m7(b5)
  • V: G7M
  • VI: Am7
  • VII: Bm7
• Mixolydian:
  • I: C7
  • II: Dm7
  • III: Em7(b5)
  • IV: F7M
  • V: Gm7
  • VI: Am7
  • VII: Bb7M
• Aeolian (minor):
  • I: Cm7
  • II: Dm7(b5)
  • III: Eb7M
  • IV: Fm7
  • V: Gm7
  • VI: Ab7M
  • VII: Bb7
• Locrian:
  • I: Cm7(b5)
  • II: Db7M
  • III: Ebm7
  • IV: Fm7
  • V: Gb7M
  • VI: Ab7
  • VII: Bbm7

In most cases, AEMs come from the minor mode. Therefore, many authors consider AEMs simply as borrowings from that mode.

Examples of Progressions in C Major

• I - IV - IVm - I:
  • C (I) - F (IV) - Fm (IVm, borrowed from the minor mode) - C (I)
  • Fm (iv) is a minor chord borrowed from the Aeolian (natural minor) mode of C, providing a smooth descending harmonic movement before returning to the tonic.
• I - BVII - IV - I:
  • C (I) - Bb (bVII, borrowed from the Mixolydian mode) - F (IV) - C (I)
  • Bb (bVII) is a major chord borrowed from the Mixolydian mode of C, offering a distinctive sound and resolving well to F (IV).
• I - VI - BVI - V:
  • C (I) - Am (vi) - Ab (bVI, borrowed from the minor mode) - G (V)
  • Ab (bVI) is a major chord borrowed from the minor mode, creating a chromatic and tensioned movement before resolving to the dominant.
• I - V - IV - IVm:
  • C (I) - G (V) - F (IV) - Fm (IVm, borrowed from the minor mode)
  • Fm (iv) borrowed from the minor mode, creates an interesting emotional shift before returning to the tonic.
• I - V - BVII - IV:
  • C (I) - G (V) - Bb (bVII, borrowed from the Mixolydian mode) - F (IV)
  • Bb (bVII) from the Mixolydian mode provides an interesting harmonic deviation that leads smoothly back to the F (IV) chord.
• I - IV - BVI - V:
  • C (I) - F (IV) - Ab (bVI, borrowed from the minor mode) - G (V)
  • Ab (bVI) from the minor mode adds a rich harmonic color before resolving to G (V), creating a strong expectation of returning to the tonic.
• I - BIII - IV - I:
  • C (I) - Eb (bIII, borrowed from the minor mode) - F (IV) - C (I)
  • Eb (bIII) from the minor mode adds an unexpected and captivating sound that resolves smoothly back to the F (IV) chord.
• I - V - IVm - VI:
  • C (I) - G (V) - Fm (IVm, borrowed from the minor mode) - Am (VI)
  • Fm (iv) adds an unexpected minor quality, creating an emotional contrast with the Am (VI) chord.
• I - BVII - BIII - IV:
  • C (I) - Bb (bVII, borrowed from the Mixolydian mode) - Eb (bIII, borrowed from the minor mode) - F (IV)
  • Bb (bVII) and Eb (bIII) borrowed from the minor and Mixolydian modes, respectively, create a richly varied progression before resolving to F (IV).
• I - IV - II - BII:
  • C (I) - F (IV) - Dm (II) - Db (bII, borrowed from the Phrygian mode)
  • Db (bII) from the Phrygian mode offers an exotic and tense sound before returning to the tonic chord or resolving to another chord.

Modal Borrowing in Minor Keys

In minor keys, modal borrowing works similarly, bringing chords from parallel modes to add color and harmonic variety. Here are some tips for using modal borrowings in minor keys, with examples in the key of A minor (Am).

1. IV chord in minor keys: The major fourth chord (IV) can be borrowed from the Dorian mode. In A minor (Am), the D major (D) chord is borrowed from the Dorian mode.
   • Example: Am (i) - D (IV) - G (VII) - Am (i)
2. bVII chord in minor keys: The minor seventh chord (bVII) is frequently used. In A minor (Am), the G major (G) chord is borrowed from the Aeolian mode.
   • Example: Am (i) - G (bVII) - F (VI) - Am (i)
3. bVI chord in minor keys: The minor sixth chord (bVI) can be borrowed from the Aeolian mode. In A minor (Am), the F major (F) chord is borrowed from the Aeolian mode.
   • Example: Am (i) - F (bVI) - G (bVII) - Am (i)
4. III chord in minor keys: The major third chord (III) can be borrowed from the Aeolian mode. In A minor (Am), the C major (C) chord is borrowed from the Aeolian mode.
   • Example: Am (i) - C (III) - F (bVI) - G (bVII)
5. v chord in minor keys: The minor fifth chord (v) can be borrowed from the Dorian mode. In A minor (Am), the E minor (Em) chord is borrowed from the Dorian mode.
   • Example: Am (i) - Em (v) - D (IV) - Am (i)
6. I chord in minor keys: The major tonic chord (I) can be borrowed from the Aeolian mode. In A minor (Am), the A major (A) chord is borrowed from the Aeolian mode.
   • Example: Am (i) - A (I) - F (bVI) - G (bVII)
7. bII chord in minor keys: The minor second chord (bII) can be borrowed from the Phrygian mode. In A minor (Am), the Bb (Bb) chord is borrowed from the Phrygian mode.
   • Example: Am (i) - Bb (bII) - G (bVII) - Am (i)
8. bVII7 chord in minor keys: The dominant minor seventh chord (bVII7) can add an interesting color. In A minor (Am), the G seven (G7) chord is borrowed from the Mixolydian mode.
   • Example: Am (i) - G7 (bVII7) - F (bVI) - E (V)
9. IV7 chord in minor keys: The major fourth dominant chord (IV7) can add interesting tension. In A minor (Am), the D seven (D7) chord is borrowed from the Dorian mode.
   • Example: Am (i) - D7 (IV7) - G (bVII) - Am (i)
10. VI chord in minor keys: The major sixth chord (VI) can be borrowed from the Aeolian mode. In A minor (Am), the F major (F) chord is borrowed from the Aeolian mode.
    • Example: Am (i) - F (VI) - C (III) - G (bVII)

Application of Modal Borrowing

The application of modal borrowing can be observed in various musical genres, from classical music to jazz, rock, and pop. Below are some practical examples of how modal borrowing can be used:

• Classical Music: Many classical composers use modal borrowing to create tension and resolution in their works. Beethoven, for example, frequently used borrowed chords to add emotional depth.
• Jazz: In jazz, modal borrowing is a common tool for adding harmonic complexity. Jazz musicians often use borrowed chords to improvise and create new harmonic progressions.
• Rock and Pop: Rock bands and pop artists also use modal borrowing to create unique and memorable sounds. The use of minor chords in major progressions is a common technique to create contrast and interest.

Improvisation Over Modal Borrowing Chords

Knowing the most common Modal Borrowing Chords (AEM) is very useful, as it allows you to memorize the degrees and know automatically what to use in each situation. Although improvising over AEMs seems easy in theory, as it is enough to identify the origin of the modal borrowing and play the scale corresponding to the chord, practice requires quick identification of the borrowed mode to choose the correct scale. This familiarity with AEM reduces surprises during improvisation and enriches the musical repertoire. With practice and experience, your reflexes will become faster and more precise.

Conclusion

Modal borrowing is a powerful technique in musical composition that allows the exploration of new harmonic territories. By understanding and applying modal borrowing, musicians and composers can add depth and variety to their creations, providing a richer and more engaging listening experience. Whether in classical music, jazz, rock, or pop, modal borrowing remains a valuable and inspiring tool in any musician's arsenal.