Using Borrowed Chords - Music Composition

[@MusicMattersGB]

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

[@LouisSerieusement]

10:34 I always say that theory helps us to put name on specific feelings/color so we can spot them in songs and re-use them whenever we want more easily. It is really helpful

[@MusicMattersGB]

Absolutely

[@jayducharme]

I love the sound of your example. Borrowed chords are now my new favorite thing!

[@MusicMattersGB]

Go for it!

[@carlstenger5893]

Delightful video. Adding color to a seemingly "okay" piece brings a special kind of joy that's hard to beat. First, you get to surprise the performers during practice. Then, they get to surprise the audience at the performance. It's a win / win.

[@MusicMattersGB]

Absolutely

[@philipkudrna5643]

Glad you mentioned the augmented second in the alto. I feel, in a choir the alto usually has the hardest job, as their melodic lines are usually full of such exotic intervals that sound weird on their own. Also tenors can be „blessed“ with this, while usually voice Leasings of bass and soprano are „easy listening“ and free from strange jumps or melodic lines.

[@MusicMattersGB]

😀

[@carolynbrightfield8911]

Yes, agreed.

[@MusicMattersGB]

😀

[@lawrencetaylor4101]

Merci for this, even though I'm not ready to compose, I feel that I will have a good preparation with your videos.

[@MusicMattersGB]

You’re most kind. Much more at www.mmcourses.co.uk

[@lornapenn-chester6867]

Working my way through all I’ve been missing! Another great lesson, thank you! 😊

[@MusicMattersGB]

A pleasure

[@christopherlord3441]

Very well-thought-out and well-executed piece of instruction. I believe that a more extreme version of this idea is found in blues and also in flamenco: what I call 'paradoxical harmony'. The scales used for the parallel harmony are not diatonic. In Blues, a major or possibly mixolydian harmony coexists with a pentatonic minor on the same root, which is directly discordant, and in flamenco the phrygian harmony of the 'andalusian cadence' coexists with a kind of chromatic diminished harmony which uses the flat 5 as a harmony note: again, just about as discordant as possible. Keep up the good work.

[@MusicMattersGB]

Useful extended thought.

[@Camaleonte]

Excellent exploration, Gareth. Thanks. The borrowed chords change the piece from sounding like a hymn to a bona fide classical piece

[@MusicMattersGB]

A pleasure

[@PapitaPure]

These are the kind of chords that give me goosebumps the most.

[@MusicMattersGB]

They’re great

[@mymatemartin]

This was a great tutorial. Really explains a lot and for me, provided clarity on things I could sense but not quite understand before.

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk

[@lawrencetaylor4101]

My daughters both like modern pop music. But they also appreciate the pieces that Gareth composes.

[@MusicMattersGB]

It’s great that they have such universal taste.

[@yinwong858]

best of the best channel ever! can't live without it

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk

[@SIQN-]

Always insightful and enjoyable. Thank you for sharing your knowledge with the world.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@ilninfeo]

Fantastic and very useful lesson! Thank you, dear Gareth!

[@MusicMattersGB]

A pleasure

[@basslobster]

Great as always. Appreciate your effort on this subject. Greetings from 🇸🇪😀

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@zandernoriega]

Masterfully explained. Thanks!

[@MusicMattersGB]

Most kind. Much more at www.mmcourses.co.uk

[@StratsRUs]

Superb ! And then some. Thank you

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@frankdelong4377]

A wonderful insight. Thank you!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@tayewo]

Thanks so much for all your teachings.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@newnewchannel]

I love your theory lesson so much Mr. Matters. Thank you!

[@MusicMattersGB]

That’s kind. Much more at www.mmcourses.co.uk

[@PaulTame-iu2py]

Thank you for this clear analysis.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@desoconnor7445]

It’s been a while ..you look really well and this tutorial really cleared a mystery for me in relation to borrowed chords..thanks 🎵👍

[@MusicMattersGB]

You’re most kind. Much more at www.mmcourses.co.uk

[@timosdl8660]

Great video. Thank you!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@bitegoatie]

The dominant chord is the same in the parallel scale only if one uses the so-called “harmonic” minor (in the 8:20-8:30 range you drop that specification). You simply change the minor chord to a major chord in the second-most important chord in the minor scale - which has always seemed to me silly if it’s going to be used as a matter of routine. Just as an aside, I have never liked this bit of nomenclature, nor the business of calling the doubly altered minor scale “melodic”. We can use altered tones for all sorts of reasons, and that’s all fine. Making these particular alterations common practice undercuts the familiarity of minor keys and distorts the way we discuss minor keys. But that’s just me. You have done well describing the common practices.

[@MusicMattersGB]

You’re right that I’m discussing common practice from 1600 but there are other options

[@rebanelson607]

I learned so much from this - Thanks!

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk

[@fortissimoX]

Great lesson, thanks!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@sayonara6301]

Very well explained. Pls do other parallel chords like mixolydian etc

[@MusicMattersGB]

Okay

[@SebastianAmmerlynd]

Great to point out the nomenclature! In German, the "parallel" to C major would actually be A minor. C minor would be the "variant" key to C major in German.

[@MusicMattersGB]

I love the way that terminology confuses the world!

[@marcelvdberg4140]

Thank you soooo much Greetz from holland💪💪💪👍

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@brittenmusic6923]

Excellent!

[@MusicMattersGB]

Many thanks. See www.mmcourses.co.uk for much more.

[@isaacshaw1596]

Another interesting way to look at that bar 5 when you borrow chord 1, in an interesting way, going from I to a borrowed I going to chord V is also Chord IV to borrowed IV to I in D major. So really it’s the same trick as the borrowed IV in the first line. It’s the same relationship/ principle at work there that makes it work.

[@MusicMattersGB]

😀

[@philipkudrna5643]

Using the flat 6 (or a minor 4 chord) is actually a classic stylistic choice for a „half ending“ or „fake ending“ in modern pop Music, especially in the 80ies and 90ies (e.g. Brian Adams: everything I do on „I’d die for you…!“ or Oasis in „don’t look back in anger“). The major 4 - minor 4 transition was also used in the verse of „up where we belong“.

[@MusicMattersGB]

😀

[@jesusislukeskywalker4294]

dude you’re a genius . so advanced kind of reminds me of the hollys. “all that i need is the air that i breathe.” .. possibly “here there and everywhere” by the beatles . not sure if it could be an example.,. im going to do some experiments 👍🏻

[@MusicMattersGB]

You’re most kind

[@patrikmill164]

Thank you so much!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@alvodin6197]

I just a course from MM on music composition and so far I'm very happy. Gareth, will you ever do a course on early romantic era or Chopin? I wish!

[@MusicMattersGB]

Glad you’re enjoying the course. We could do a course on that.

[@philipkudrna5643]

The borrowed 6 chord is also a „classic“ stylistic element. In „Phantom of the opera“, the chords and base go to and fro between Chord 1 and chromatically down to flat 6 (even though this example is not perfect, as the song is already in a minor key.) A better example that comes to my mind is Whitney Houston’s „One moment in time“, which in the bridge (and before the final modulation) also goes to and fro between Chord 1 and a borrowed flat 6 major chord („You‘re winner for a lifetime“). I like the flat 6 major because it comes as a surprise but is not too exotic and doesn’t lead you too for away and allows you to get back to the original key. It can also be used as a deceptive ending. (I think in the Prayer (dion/Bocelli) it is also used in the very end, but I am not entirely sure about that…)

[@MusicMattersGB]

😀

[@LohPro]

is there a video that you have where you talk about knowing what to use, to achieve a certain "color" or "mood"? how do you know which note or chord to use, in a specific moment, that will allow a certain "feel' to be conveyed? i know about Major-> minor perhaps sounding "happy-> sad", but there are so many other emotions out there, how do you go about choosing different notes or chords to help achieve a required sound?

[@MusicMattersGB]

We will add that to the list

[@smkh2890]

Fascinating! G Melodic minor would have two flats AND the f sharp from the major!

[@MusicMattersGB]

😀

[@martinbennett2228]

In bar 6 the expectation is a cadence, but you go to a doubly unexpected chord. Given last week's video on the augmented (German) sixth, it would be interesting to see a full treatment of chords that can follow the notes in a dominant 7th (I suspect that you might have one or two surprises up your sleeve). Thanks again.

[@MusicMattersGB]

We can cover that. Thanks for your support.

[@bellygunnermusic]

much love you genius.

[@MusicMattersGB]

You’re most kind

[@JustRockMySoul]

Excellent explanation, one suggestion though: You could add a segment without commentary at the end where you only repeat the chords and the changes without talking. That way it would be easier to focus on the intervals.

[@MusicMattersGB]

Fair point

[@bettyennin6335]

Thanks for a detailed tutorial as usual. You're always a blessing!

[@MusicMattersGB]

You’re very kind

[@igorperic5232]

Hey :) Could you explain in a video the difference between 3/8, 6/8, 9/8 and 12/8 ? :) It confuses me a lot...

[@MusicMattersGB]

😀

[@simongross3122]

Very nice and interesting, thank you. I wonder, is it possible to borrow chords from something other than the parallel key? Or would this require an actual modulation to elsewhere?

[@MusicMattersGB]

Anything is possible if it sounds good.

[@m.dsamuel6278]

Nice one

[@MusicMattersGB]

Glad it’s useful

[@rjlchristie]

Thanks Gareth I appreciate the series. Now, for some "just resting in my bank account" chords. if you please.

[@MusicMattersGB]

😀

[@mtaur4113]

Thumbnail Gareth looking at us like we borrowed that chord a week ago, and are we gonna give it back to him no worse for wear any time soon or what?

[@MusicMattersGB]

😀😀😀

[@sychg3448]

Brilliant

[@MusicMattersGB]

Most kind

[@bellygunnermusic]

in the harmonic minor the 6 chord could be major or minor. is there a vocabulary for this? Eb G Bb or Eb Gb Bb. this is what's confusing about harmonic minor. you have two options for the quality of the 6 chord. and some tunes use both.......is there a term for this phenomenon?

[@MusicMattersGB]

In the harmonic minor VI is always a major chord. In the melodic minor it would be diminished in relation to the rising scale and major in relation to the descending scale.

[@TomBlakeOfficial]

I assume this is mostly used in film-, and classical music?

[@MusicMattersGB]

Not necessarily

[@mtaur4113]

I felt like the borrowing was a lighter touch in m1-4, and it was a little abruptly dark and underprepared in m5-8. It could work fine with more context, but it felt sudden to me, all things considered.

[@MusicMattersGB]

Absolutely. It’s making the point that borrowing chords can be subtle or more dramatic.

[@Narragorth]

21:33

[@MusicMattersGB]

😀

[@suedemutant8196]

If you stick to natural g minor parallel you have some extra clean major chords in G to play around with. As Bb, Eb and F. Might come in handy for some Beatles tunes. But that's not the topic of this video, just a sidenote ☺️

[@MusicMattersGB]

Absolutely

[@bettyennin6335]

Concerning borrowed chords, as in everything less is more. Too many borrowed chords in succession will indeed defeat the purpose of adding color and end up being more of confusion.

[@MusicMattersGB]

Absolutely

[@annonymeandfish]

I feel like statements in the order of « Am is the relative tonality of C major BECAUSE they share the same key signature » are missing the point.

[@MusicMattersGB]

Not really as every major key has a relative minor key and that relationship often plays out in pieces.

[@kierenmoore3236]

The Minor Plagal Cadence is lovely … the only problem with it now is that Radiohead’s lawyers think they invented/own it … 😉 lol

[@MusicMattersGB]

😀

[@Eric-os9wg]

When you slightly key word there slightly Pitch bend one little note and think you just made a whole new Melody lol

[@MusicMattersGB]

😀

[@ich-nuta]

I can hear a little Nicki Minaj influence in the voice leading

[@MusicMattersGB]

Excellent

[@ich-nuta]

@@MusicMattersGB I was kidding! Video and instruction is of great quality as usual, I'm already familiar with the topic so skimmed through:)

[@MusicMattersGB]

I realise you were kidding. Thanks for the positive feedback

[@nayaleezy]

you can call them borrowed chords, but we all know you don't plan on returning them...

[@MusicMattersGB]

😀😀😀

[@patrickcunningham618]

many many mille graze High is the queen Long live King Charles III :)

[@MusicMattersGB]

😀

[@potapow8684]

Why can't you just invent your own chords instead of borrowing them?

[@MusicMattersGB]

Feel free to invent. If it sounds good use it.

[@rozzgrey801]

So it's OK to borrow chords just as long as you pay them back with interest?

[@MusicMattersGB]

😀😀😀

[@Mario-xr3jo]

Very interesting! Thank you!

[@MusicMattersGB]

You’re most kind. Much more at www.mmcourses.co.uk

[@Mario-xr3jo]

@@MusicMattersGB Thank you for your kind invitation. I have visited your website and watched a few sample lessons. Very interesting. However, I think I am a bit too old for regular education now. Besides, I had some musical education (including piano playing) in my teen years, and some aspects you discuss are familiar to me. Since then I have mainly played by ear. Anyway, It's always pleasure to listen to you. Best regards.

[@MusicMattersGB]

That’s most kind. Lovely to hear from you. Enjoy your music