Using Borrowed Chords - Music Composition
HTML-код
- Опубликовано: 24 июл 2024
- Find out how to borrow chords from the parallel key as a means of adding colour to your harmony and to understand how composers use this technique. This music composition lesson presents a short piece of harmony and demonstrates ways in which borrowed chords can be injected, covering issues of voice leading, as well as how to prepare for and to resolve the borrowed chords. This video will help you add variety and extra colour to your harmony.
⬇️Download the files
drive.google.com/file/d/1M6rN...
🔴 Subscribe for more videos just like this: / @musicmattersgb
🎵 Become a Music Matters Maestro: / @musicmattersgb
👕 Merch store: / @musicmattersgb
🕘 Timestamps
0:00 - Introduction to using borrowed chords
0:19 - What is a parallel key?
1:57 - How do borrowed chords work?
3:28 - Finding the major chords
5:32 - Finding the minor chords
9:14 - When to use borrowed chords
11:12 - Playing the example piece
11:34 - Working through the example piece
26:48 - Comparison with and without borrowed chords
27:42 - Conclusion
🎓 Learn Music Online with Music Matters
Learn music theory, aural tests, composition, sight reading, orchestration and more! Prepare and practice for music exams and diplomas with Music Matters Courses. Whether you're just getting started with learning music, or you're an experienced musician looking to expand your abilities - we have something for you in our course library. With hours of step-by-step training, our courses will truly help you elevate your musicianship skills to the next level.
www.mmcourses.co.uk
👥 Social Media
Website: www.mmcourses.co.uk
Facebook: / musicmattersgb
Twitter: / musicmattersgb
Instagram: / musicmattersgb
Newsletter: eepurl.com/dvgdUD
🔗 Affiliate Links
Amazon: geni.us/71PKSR
#MusicComposition #MusicMattersHarmony #TheAllRoundMusician
Learn Music Online - Check out our courses here!
www.mmcourses.co.uk/courses
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
Absolutely
I love the sound of your example. Borrowed chords are now my new favorite thing!
Go for it!
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.
Absolutely
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.
😀
Yes, agreed.
😀
This was a great tutorial. Really explains a lot and for me, provided clarity on things I could sense but not quite understand before.
That’s great. Much more at www.mmcourses.co.uk
Working my way through all I’ve been missing! Another great lesson, thank you! 😊
A pleasure
Excellent exploration, Gareth. Thanks. The borrowed chords change the piece from sounding like a hymn to a bona fide classical piece
A pleasure
Always insightful and enjoyable. Thank you for sharing your knowledge with the world.
A pleasure. Much more at www.mmcourses.co.uk
Fantastic and very useful lesson! Thank you, dear Gareth!
A pleasure
best of the best channel ever! can't live without it
That’s most kind. Much more at www.mmcourses.co.uk
Merci for this, even though I'm not ready to compose, I feel that I will have a good preparation with your videos.
You’re most kind. Much more at www.mmcourses.co.uk
These are the kind of chords that give me goosebumps the most.
They’re great
It’s been a while ..you look really well and this tutorial really cleared a mystery for me in relation to borrowed chords..thanks 🎵👍
You’re most kind. Much more at www.mmcourses.co.uk
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.
Useful extended thought.
A wonderful insight. Thank you!
A pleasure. Much more at www.mmcourses.co.uk
Great as always. Appreciate your effort on this subject.
Greetings from 🇸🇪😀
A pleasure. Much more at www.mmcourses.co.uk
Thank you for this clear analysis.
A pleasure. Much more at www.mmcourses.co.uk
Masterfully explained. Thanks!
Most kind. Much more at www.mmcourses.co.uk
Thanks so much for all your teachings.
A pleasure. Much more at www.mmcourses.co.uk
Superb !
And then some.
Thank you
A pleasure. Much more at www.mmcourses.co.uk
I love your theory lesson so much Mr. Matters. Thank you!
That’s kind. Much more at www.mmcourses.co.uk
I learned so much from this - Thanks!
That’s great. Much more at www.mmcourses.co.uk
Great video. Thank you!
A pleasure. Much more at www.mmcourses.co.uk
Great lesson, thanks!
A pleasure. Much more at www.mmcourses.co.uk
Very well explained. Pls do other parallel chords like mixolydian etc
Okay
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“.
😀
Excellent!
Many thanks. See www.mmcourses.co.uk for much more.
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.
We can cover that. Thanks for your support.
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 👍🏻
You’re most kind
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.
I love the way that terminology confuses the world!
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…)
😀
Thank you so much!
A pleasure. Much more at www.mmcourses.co.uk
Thank you soooo much Greetz from holland💪💪💪👍
A pleasure. Much more at www.mmcourses.co.uk
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!
Glad you’re enjoying the course. We could do a course on that.
Thanks for a detailed tutorial as usual. You're always a blessing!
You’re very kind
Fascinating! G Melodic minor would have two flats AND the f sharp from the major!
😀
Very interesting! Thank you!
You’re most kind. Much more at www.mmcourses.co.uk
@@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.
That’s most kind. Lovely to hear from you. Enjoy your music
Brilliant
Most kind
much love you genius.
You’re most kind
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?
Anything is possible if it sounds good.
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?
We will add that to the list
Nice one
Glad it’s useful
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.
Fair point
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.
You’re right that I’m discussing common practice from 1600 but there are other options
Thanks Gareth I appreciate the series.
Now, for some "just resting in my bank account" chords. if you please.
😀
Hey :) Could you explain in a video the difference between 3/8, 6/8, 9/8 and 12/8 ? :) It confuses me a lot...
😀
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.
Absolutely
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 ☺️
Absolutely
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.
Absolutely. It’s making the point that borrowing chords can be subtle or more dramatic.
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?
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.
I assume this is mostly used in film-, and classical music?
Not necessarily
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?
😀😀😀
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.
Not really as every major key has a relative minor key and that relationship often plays out in pieces.
The Minor Plagal Cadence is lovely … the only problem with it now is that Radiohead’s lawyers think they invented/own it … 😉 lol
😀
When you slightly key word there slightly Pitch bend one little note and think you just made a whole new Melody lol
😀
many many mille graze High is the queen Long live King Charles III :)
😀
I can hear a little Nicki Minaj influence in the voice leading
Excellent
@@MusicMattersGB I was kidding! Video and instruction is of great quality as usual, I'm already familiar with the topic so skimmed through:)
I realise you were kidding. Thanks for the positive feedback
you can call them borrowed chords, but we all know you don't plan on returning them...
😀😀😀
Why can't you just invent your own chords instead of borrowing them?
Feel free to invent. If it sounds good use it.
So it's OK to borrow chords just as long as you pay them back with interest?
😀😀😀