I don't mind having John present the quick tip instead of Jonny, but please remember that it isn't an official lesson until you raise your left hand, point to the right above your head, and say, "then let's go ahead . . . . and dive in" 🤪
I think Barry Harris has a much simpler method to "borrow" notes from diminished chords related to the major / minor scale to create movements between chords. He talks about the 6th diminished scale which consists of "resolved" scale tones maj 6th chord inversions vs tension notes diminished chord inversions. I suppose it's all down to personal choice and what works best for you to get the same result, but it would be interesting to hear your perspective on Barry's method Paul?
Hi Jonny, great lesson, thank you so much! Can we assume that the borrowed chords have the same harmonic function of their corresponding diatonic chord from the original tonality? For example, Fm can be considered a subdominant in the C major harmonic field as F major? At 5:23 you mentioned the borrowed chord Bb9 from Aolian, but it has the note Ab in it which makes it Bb7/9 instead, right?
Interesting as a demonstration, but I did I miss where you discussed the rules for deciding which mode and which chord on a degree to be used? It went by too fast. Seven Modes, 7 triads per mode, 7 sevenths per mode, gives (7 +7) x 7 possible chords in the total palette. There will be repeats. Ignore more complex chords. Assuming that you just use degrees I, IV, V in the Ionian for the original, there must be some logic for choosing a mode and degree to borrow from. You could just substitute a chord from the coresponding degree in some mode, but I am not sure you did something as simple as that. You still leave unstated, as far as I could see, the reason for choosing one mode over another. The video went too fast for my limited perceptions, so maybe you did make your thought process explicit. Apologies if so. I know it is music, and subjective to a large extent, and creative, but trial and error choice would be rather haphazard; too many chord choices, even if using functional thinknig to reduce them. I am wrestling with this for my own songwriting, branching out from the diatonic chords in the original key. I guess we could call it not modulation, but at least a temporary change of tonicity. I like the idea of starting with a simple Ionian mode and I, IV, V chords as a basis for borrowing. Thanks, I did appreciate the demonstration.
Great vid! Interesting you call it the "Spy Chord", it's used in the theme of my all time fave spy movie the Ipcress File by John Barry. (Both the film and the theme are my fave) Check it out!
At timestamp 5:05 you selected the Fm/C from the Aeolian scale. But why did you choose to pick the 4 chord as opposed to any other chord from that Aeolian Scale. Also same question goes for the 6th chord from the Locrian Scale Ab7 at timestamp 4:36? Also how do you know which Mode to choose, or why are you choosing a specific Mode? Thx a Bunch ElectricEddie😎
I completely agree with @wandamusictube comment. Thinking about chord substitutions as borrowed from some other mode gives me no information on why it sounds "good". Thinking of a chord as simply the tritone sub for the V of V, and it makes total sense. And now I only have to learn about Tritone subs not vague references to modes. If you want to make an interesting lesson explain why these parallel modes sound "good".
Great lesson. But what I've always struggled to understand (as a classical based pianist) is "why" (or how) do you choose these specific modes when re-arranging/improvising?
I think of it in 3 ways. 1 is about the melody. Does the chord support the melody, either by containing it or suspending or anticipating. Then secondly, if it's not in any obvious way backing the melody, I just view the chord as cool harmonic movement in the context of the broader chord progression. And lastly...WHY!? Why does a leading tone want to resolve up? Why!? WHY!? Haha. Sometimes there's an explanation after the fact. But the fact that something works is true whether or not we have a WHY. Whether or not there even is a WHY.
If someone joins with a membership, are the lessons laid out in order of difficulty? Is there a way to not bother with things that are two hard for an intermediate or beginner? Or is it hit and miss?
Been a member for a year and a half. The site is organized into nine tracks for levels from rank beginner through advanced with three sublevels in each.
![Writing Progressions with Borrowed Chords: Songwriting Lesson [MUSIC THEORY - MODAL INTERCHANGE]](/img/1.gif)
00:00 - Intro
00:20 - Borrowed Chords
01:11 - Other Names
02:13 - Borrowed Chords vs Modulation
02:57 - Apply to Happy Birthday
03:20 - Lead Sheet
03:47 - Level 1 (Beginner)
05:28 - Level 2 (Intermediate)
06:50 - Level 3 (Advanced)
09:07 - Index
09:41 - Conclusion
Hmmmm if I see a D or D7 chord in key of C leading to the dominant, I think V7 of V, not borrow F# from Lydian.
I don't mind having John present the quick tip instead of Jonny, but please remember that it isn't an official lesson until you raise your left hand, point to the right above your head, and say, "then let's go ahead . . . . and dive in" 🤪
This is one of the best lessons you folks have produced! I never stop learning from ye!
This is so very good as it demonstrates how to put modal theory into practice beginning with a simple tune. Thank you
I think Barry Harris has a much simpler method to "borrow" notes from diminished chords related to the major / minor scale to create movements between chords. He talks about the 6th diminished scale which consists of "resolved" scale tones maj 6th chord inversions vs tension notes diminished chord inversions. I suppose it's all down to personal choice and what works best for you to get the same result, but it would be interesting to hear your perspective on Barry's method Paul?
Hello Jonny, thanks for your lessons. They are really great. Please Jonny in the video on passing chords and reharmonization. Thanks very much
Hi Jonny, great lesson, thank you so much!
Can we assume that the borrowed chords have the same harmonic function of their corresponding diatonic chord from the original tonality?
For example, Fm can be considered a subdominant in the C major harmonic field as F major?
At 5:23 you mentioned the borrowed chord Bb9 from Aolian, but it has the note Ab in it which makes it Bb7/9 instead, right?
Interesting as a demonstration, but I did I miss where you discussed the rules for deciding which mode and which chord on a degree to be used? It went by too fast.
Seven Modes, 7 triads per mode, 7 sevenths per mode, gives (7 +7) x 7 possible chords in the total palette. There will be repeats. Ignore more complex chords. Assuming that you just use degrees I, IV, V in the Ionian for the original, there must be some logic for choosing a mode and degree to borrow from. You could just substitute a chord from the coresponding degree in some mode, but I am not sure you did something as simple as that. You still leave unstated, as far as I could see, the reason for choosing one mode over another.
The video went too fast for my limited perceptions, so maybe you did make your thought process explicit. Apologies if so.
I know it is music, and subjective to a large extent, and creative, but trial and error choice would be rather haphazard; too many chord choices, even if using functional thinknig to reduce them.
I am wrestling with this for my own songwriting, branching out from the diatonic chords in the original key.
I guess we could call it not modulation, but at least a temporary change of tonicity.
I like the idea of starting with a simple Ionian mode and I, IV, V chords as a basis for borrowing.
Thanks, I did appreciate the demonstration.
Awesome lesson ! Thank you for taking the time to share
great video thank you
Great vid!
Interesting you call it the "Spy Chord", it's used in the theme of my all time fave spy movie the Ipcress File by John Barry. (Both the film and the theme are my fave)
Check it out!
🔥🔥🔥🔥
I dnt understand what u teach
At timestamp 5:05 you selected the Fm/C from the Aeolian scale. But why did you choose to pick the 4 chord as opposed to any other chord from that Aeolian Scale. Also same question goes for the 6th chord from the Locrian Scale Ab7 at timestamp 4:36? Also how do you know which Mode to choose, or why are you choosing a specific Mode? Thx a Bunch ElectricEddie😎
Excelente trabajó
I completely agree with @wandamusictube comment. Thinking about chord substitutions as borrowed from some other mode gives me no information on why it sounds "good". Thinking of a chord as simply the tritone sub for the V of V, and it makes total sense. And now I only have to learn about Tritone subs not vague references to modes. If you want to make an interesting lesson explain why these parallel modes sound "good".
Nice lesson, thank you.
Interesting lesson! Using Happy Birthday is such a good idea.
Great lesson. But what I've always struggled to understand (as a classical based pianist) is "why" (or how) do you choose these specific modes when re-arranging/improvising?
I think of it in 3 ways. 1 is about the melody. Does the chord support the melody, either by containing it or suspending or anticipating. Then secondly, if it's not in any obvious way backing the melody, I just view the chord as cool harmonic movement in the context of the broader chord progression. And lastly...WHY!? Why does a leading tone want to resolve up? Why!? WHY!? Haha. Sometimes there's an explanation after the fact. But the fact that something works is true whether or not we have a WHY. Whether or not there even is a WHY.
Thank you,John and Jonny.🌹🌹🌹🌹
Backdoor progression❤
If someone joins with a membership, are the lessons laid out in order of difficulty? Is there a way to not bother with things that are two hard for an intermediate or beginner? Or is it hit and miss?
Been a member for a year and a half. The site is organized into nine tracks for levels from rank beginner through advanced with three sublevels in each.
at 6:45...wow!!! A♭/G♭ yeah, this sounds like - "No, stop the music! We need no G/F" hahaha magnificent!!!