Reharmonization: Understanding Rules of Borrowing Chords. Harmony Tutorial

[@mDecksMusic]

PDF for "exclusive access" members is available for Aug-Sep 2022 members

[@seanonel]

Your last observation was *_very_* thought provoking!!

[@jeffreydelisle7337]

Wow great insights. Explains so much of progression exercises!

[@grantholland421]

My experience is that we were in major the whole time and were simply doing a lot of borrowing from minor earlier. The arbiter to that question, however, will be what the listener experiences. So it could go either way.

[@nativesonno.1113]

You´re the best!

[@Hansprive]

We were always borrowing from the minor key because the major key, and especially the major third interval, has more stability and, therefore, expressiveness. Minor is good for giving depth to a story, but major tells what we prefer and, ultimately, want to hear at the end (or in the conclusion) of that story. Our musical instruments are also set up for this. For example, the alto saxophone, which does not have the lowest-sounding note C and ends in a D or D flat under E flat (the major-sounding key of the instrument). It is not without reason that the major key is the first thing we learn to play and recognize, just as the white keys on a piano are arranged around C major. 'A minor' is a mode, therefore an alternative way of playing the C major notes, and therefore subordinate.

[@mikegeld1280]

We borrow from the major when tonicizing, like when in minor and you wanna reharmonize the 4 ,we borrow the major 3rd of the 1 🤔

[@winterbottom2427]

what about the V7 in almost all minor progressions?

[@mDecksMusic]

That’s a chord form the harmonic minor it is not being borrowed from major. The V7 is a V7b9b13 in minor.

[@ChizFreak]

I suppose this is something that has to be taken into account when borrowing from other parallel modes, correct? To keep the voice leading smooth.

[@mDecksMusic]

YES!

[@andrewhoven7393]

wow great vid .. I was just wondering about that 2 days ago thx ... may I ask how did u learn this great uncommon info can u recommend me some resources pls ✨

[@mDecksMusic]

Adam went to FAU and I went to Berklee. Two great schools, and they have lots of material on their websites as well.

[@mharbaugh]

Perhaps the only acceptable use of a b9 moving to a natural 9 is in bar 3 of Days of Wine and Roses!

[@oosaxx]

What if we played an F#dim7 to a Gmin6? 🙂

[@mDecksMusic]

That works.

[@vinx002]

If u do like you did in this video (I mean Dm7,b5, Dm, Cm) it doesn't work, but if insetad you play Dm, G7, Cmin it works so good and it's really common to find something like that in a minor key situation. Can we say that I'm borrowing the ii from major key?

[@mDecksMusic]

Is Cm the I chord? Then yes. But usually you find those kind of progressions as secondary dominants like Bbmaj7 Dm7 G7 Cm7 F7 Bbmaj7

[@vinx002]

@@mDecksMusic thanks. Yes i mean 1 chord. For example, in the A of autumn leaves, if u try to subtistute the ii half diminished with the ii minor it sounds so good. Like that: (key of Gmin): Cm, F7, BbM, EbM, Amin, D7, Gm.

[@maximefortinmusic]

"Does the last chord reveals to us that we were borrowing from minor the entire time without realizing it" 🤯🤯🤯 Great content, as always!

[@ParsevalMusic]

Cooool