LearnGospelMusic.com Community
Gospel Instruments => General Music Hangout => Topic started by: seemunny on May 11, 2008, 01:39:28 AM
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I just recently heard something about "borrowed" chords, and would like a better explanation and/or example(s) of what they are & how they're used. 8)
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I just recently heard something about "borrowed" chords, and would like a better explanation and/or example(s) of what they are & how they're used. 8)
My understanding of "borrowed" chords is this,... Every major key has a "parallel minor key", and every minor key has a "parallel major key". Thus, a "borrowed" chord is simply a chord that belongs to it's "parallel minor", or "parallel major" key. (Do not confuse "parallel" with "relative, for they are not the same. Learn the meaning and application of both "parallel" and "relative" keys.)
Example of "C major" key : C, D, E, F, G, A, B ...
"Parallel minor" key to "C major" : C, D, Eb, F, G, Ab, Bb ... (Note that the "parallel minor" key starts on the same note as it's "parallel major" key.)
So, if I'm playing in the key of "C major", I can "borrow" Eb, Ab, and Bb, from it's "parallel minor", and play these chords for a different sound and yet still be working in the key of "C major". Many contemporary songs incorporate the use of the flatted third, flatted sixth, and the flatted seventh chords.
Hope this helps you, and brings understanding to your question ... BroAllan :)
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Here is an example of the use of "borrowed" chords, "flat sixth chord (bVI) , and flat seventh chord (bVII), used in the song, "Be Blessed" by Bishop Paul Morton.
In the song "Be Blessed", after singing the verse twice, (once in "Bb" and again in the key of "C"), they end the verse the second time using the "flat six chord (bVI)",..."To pray for you..." (about 3:20 into the song. In this case, being that we are in the key of "C". the "flat six chord" is "Ab".
At 4:08, the "Flat sixth" chord (Ab), is again used. This time it is used to modulate from the key of "C", to the key of "Db".
At about 5:03, you hear a "Flat seventh" chord used in the bridge, "I'm praying for you ...". Being that we are now in the key of "Db", the "Flat seventh" chord is "Cb", (or the "B" chord).
(The times shown were taken off of the "Still Standing" album by Bishop Paul Morton.
Hope this example helps to show the use of "Borrow" chords.
God bless you, BroAllan :)
P.S. I'm still learning about "borrowed" chords, and what I've shared is to the best of my
knowledge. I welcome all corrections and comments in the hope that we help each other to grow ...
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Aww man! That did it! BroAllan, you laid it out perfectly when you filtered out the Eb, Ab, and Bb! I can SEE it now! Those "borrowed" chords simply adds yet more "OPTIONS & MOVEMENTS" to your arsenal! And thanks for the Bishop Morton example! It all just made it more clear!
And if you got any other "CHORD MOVES" that you might wanna share, then feel free to do so!
Thx, and good lookin out! 8)
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Aww man! That did it! BroAllan, you laid it out perfectly when you filtered out the Eb, Ab, and Bb! I can SEE it now! Those "borrowed" chords simply adds yet more "OPTIONS & MOVEMENTS" to your arsenal! And thanks for the Bishop Morton example! It all just made it more clear!
And if you got any other "CHORD MOVES" that you might wanna share, then feel free to do so!
Thx, and good lookin out! 8)
I'm glad it helped you, bruh!
Although I've played chord moves like these before, I never knew what they were called, or the theory behind the use of them. After joining "LGM", I have a little more theory and understanding under my belt, and a lot more to add to my "arsenal"! God bless you ... BroAllan ;)
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on those borrowed chords, are the chords always major, minor, dimished?
Example of "C major" key : C, D, E, F, G, A, B ...
"Parallel minor" key to "C major" : C, D, Eb, F, G, Ab, Bb ... (Note that the "parallel minor" key starts
on the same note as it's "parallel major" key.)
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on those borrowed chords, are the chords always major, minor, dimished?
Example of "C major" key : C, D, E, F, G, A, B ...
"Parallel minor" key to "C major" : C, D, Eb, F, G, Ab, Bb ... (Note that the "parallel minor" key
starts on the same note as it's "parallel major" key.)
That is a good question. I don't know for sure if they are or not. I'm still learning the theory and use of "borrowed" chords. This is where we need the help of those who are more knowledgeable about this topic.
Okay Fam, what's the answer to this question? :)
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Looks like BroAllan has covered it all. Great job explaining borrowed chords man!!! ;) :D
on those borrowed chords, are the chords always major, minor, dimished?
Yes, and there are also some 7th chords that can be thrown in there. When in a major key, you can borrow from it's parallel minor key as well as the different types of minor scales (harmonic, melodic ascending & descending) of the parallel minor key.
I'm just waiting on rspindy to come through with a very detailed post about this, LOL.
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Looks like BroAllan has covered it all. Great job explaining borrowed chords man!!! ;) :D
Yes, and there are also some 7th chords that can be thrown in there. When in a major key, you can borrow from it's parallel minor key as well as the different types of minor scales (harmonic, melodic ascending & descending) of the parallel minor key.
I'm just waiting on rspindy to come through with a very detailed post about this, LOL.
Thanks T... Kinda expecting rspindy to be posting about this subject in detail. ;)
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on those borrowed chords, are the chords always major, minor, dimished?
Yes, and there are also some 7th chords that can be thrown in there.
T-block, tell me if i'm on track with this:
*if you're in a major key, there would be 3 borrowed chords that you could use from the parallel minor key, which are major and dominant. And...
*if you're in a minor key, there would be 3 borrowed chords that you could use from the parallel major key, which are minor and diminished.
Thus, that's where you get the use of (major, minor, diminished, and dominant "thrown in there") right?
Am i on track, or on lack? 8)
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Great stuff BroAllan 8)
the nice thing about this site is that there is always sometyhing new to learn..
i better go start applying this. 8)
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T-block, tell me if i'm on track with this:
*if you're in a major key, there would be 3 borrowed chords that you could use from the parallel minor key, which are major and dominant. And...
*if you're in a minor key, there would be 3 borrowed chords that you could use from the parallel major key, which are minor and diminished.
Thus, that's where you get the use of (major, minor, diminished, and dominant "thrown in there") right?
Am i on track, or on lack? 8)
You're on track, but u not there yet. You can borrow ANY chord from the parallel minor & major. The most common ones are mentioned in this topic, but u can use the other chords as well. The problem will be can u use those chords and stay in the current key.
There is a tendancy to try and modulate if u use the wrong borrowed chord at the wrong time, unless you are trying to do that on purpose.
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Anybody willing to post a musical example to help us gain understanding? ;) 8)
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You're on track, but u not there yet. You can borrow ANY chord from the parallel minor & major. The most common ones are mentioned in this topic, but u can use the other chords as well. The problem will be can u use those chords and stay in the current key.
Oh ok, i got you! That's what i meant, when you use the three most common ones, "where you don't lose your current key center".
Thanks! 8)
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Anybody willing to post a musical example to help us gain understanding? ;) 8)
Okay SJ,
I'll post an example using the song, "Be Blessed" by Bishop Paul Morton.
After singing the first verse, the song modulates a whole step from "Bb" to the key of "C".
We'll pick up the song starting from the second verse, and I'll highlight and note the "borrowed" chords that we're discussing...
"Be Blessed
(Modulation to "key of C" Second Verse)
C G / C E G
C F A / C F
C F A / C E You might be
F C / F A C hurting,
G D / F A C
You
G D F/ G B D might be
A E / A C E crying, you might be
F C / F A C worrying
G D / F A C
and fru-
G D F / G B D strated
A E / A C E too, ... let me en-
F C / F A C courage you,
G D / F A C
let
G D F/ G B D me speak
E E / G B D life to you
A E G / A C
you can can de-
F C E/ F A C pend on
F# C D/F# A C God,
G D / F A C
to
G D F/ G B D see you
A E / A C E thru, you can de-
F C E/ F A C pend on
F# C D/F# A C me,
G D F/G B D G
to pray for
Ab Eb / Ab C you ... ("Ab" is the "Flat Sixth" chord "borrowed from the parallel minor key,
notice that we are still in the key of "C")
F C / F A C Pray, I'm gonna
G D / G B D keep on prayin,
E B / E G B
E B / E G# B Pray I'm
E B D/ E G# B gonna
A E / A C E keep on prayin for
G D F / G Bb D you,
G E / G C E
F C / F A C Pray I'm gonna
G D / G B D keep on prayin,
E B / E G B
E B / E G# B Pray I'm
E B D/ E G# B gonna
A E / A C E keep on prayin for
G D F / G Bb D you,
you can can de-
F C E/ F A C pend on
F# C D/F# A C God,
G D / F A C
to
G D F/ G B D see you
A E / A C E thru, you can de-
F C E/ F A C pend on
F# C D/F# A C me,
G D F/G B D G
to pray for
Ab Eb / Ab C you ... (Here we again see the use of the "Flat Sixth" chord, however, this time it's
being used to set up the half step modulation from "C" to the key of "Db".)
Bridge: (Modulation to key of "Db")
Ab Eb Gb/ Ab C Eb Ab I ... see .. you ... in.. the ..
Gb Db / Gb Bb Db Gb future,
Ab Eb / Gb Bb Db
and
Ab Eb Gb/Ab C Eb you look
Db Ab / Db F Ab better, I see you walking in
Gb Db / Gb Bb Db favor
Ab Eb / Gb Bb Db
and
Ab Eb Gb/ Ab C Eb prosperity
Bb F / Bb Db F too,
Ab Eb Ab/ B Eb Gb
let
Ab Db F / B Db F me en-
Gb Db / Gb Bb Db courage you,
Ab Eb / Gb Bb Dd
let
Ab EbGb/Ab C Eb me speak
F C F / Ab C Eb life to you,
Bb F / Bb Db
you can de
Gb Db F/ Gb Bb Db pend on
G Db Eb/ G Bb Db God
Ab Eb / Gb Bb Db
to see you
Bb F / Bb Db thru, you can de-
Gb Db F/ Gb Bb Db pend on
G Db Eb/ G Bb Db me,
Ab Eb Gb/ Ab C Eb
to pray for
Db Ab / Db F Ab you ...
I pray for
B Eb Gb/ B Eb Gb you, you pray for (Here we see the use of the "Flat Seventh" chord.
Since we are in the key of "Db", the "borrowed Flat
seventh is, "Cb" or the "B" chord.)
Gb Db/ Gb Bb Db me, and watch God
Ab Eb / Ab C Eb change
Db Ab / Db F Ab things ...
(Repeat as led by leader)
Hope that this example is helpful, "Be Blessed" ... BroAllan ;)
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Great work BroAllan!!!
Now I just have to try it out & hear it..
It's always good to know what 1 is doing when they do it 8)
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Okay SJ,
I'll post an example using the song, "Be Blessed" by Bishop Paul Morton.
After singing the first verse, the song modulates a whole step from "Bb" to the key of "C".
We'll pick up the song starting from the second verse, and I'll highlight and note the "borrowed" chords that we're discussing...
"Be Blessed
(Modulation to "key of C" Second Verse)
C G / C E G
C F A / C F
C F A / C E You might be
F C / F A C hurting,
G D / F A C
You
G D F/ G B D might be
A E / A C E crying, you might be
F C / F A C worrying
G D / F A C
and fru-
G D F / G B D strated
A E / A C E too, ... let me en-
F C / F A C courage you,
G D / F A C
let
G D F/ G B D me speak
E E / G B D life to you
A E G / A C
you can can de-
F C E/ F A C pend on
F# C D/F# A C God,
G D / F A C
to
G D F/ G B D see you
A E / A C E thru, you can de-
F C E/ F A C pend on
F# C D/F# A C me,
G D F/G B D G
to pray for
Ab Eb / Ab C you ... ("Ab" is the "Flat Sixth" chord "borrowed from the parallel minor key,
notice that we are still in the key of "C")
F C / F A C Pray, I'm gonna
G D / G B D keep on prayin,
E B / E G B
E B / E G# B Pray I'm
E B D/ E G# B gonna
A E / A C E keep on prayin for
G D F / G Bb D you,
G E / G C E
F C / F A C Pray I'm gonna
G D / G B D keep on prayin,
E B / E G B
E B / E G# B Pray I'm
E B D/ E G# B gonna
A E / A C E keep on prayin for
G D F / G Bb D you,
you can can de-
F C E/ F A C pend on
F# C D/F# A C God,
G D / F A C
to
G D F/ G B D see you
A E / A C E thru, you can de-
F C E/ F A C pend on
F# C D/F# A C me,
G D F/G B D G
to pray for
Ab Eb / Ab C you ... (Here we again see the use of the "Flat Sixth" chord, however, this time it's
being used to set up the half step modulation from "C" to the key of "Db".)
Bridge: (Modulation to key of "Db")
Ab Eb Gb/ Ab C Eb Ab I ... see .. you ... in.. the ..
Gb Db / Gb Bb Db Gb future,
Ab Eb / Gb Bb Db
and
Ab Eb Gb/Ab C Eb you look
Db Ab / Db F Ab better, I see you walking in
Gb Db / Gb Bb Db favor
Ab Eb / Gb Bb Db
and
Ab Eb Gb/ Ab C Eb prosperity
Bb F / Bb Db F too,
Ab Eb Ab/ B Eb Gb
let
Ab Db F / B Db F me en-
Gb Db / Gb Bb Db courage you,
Ab Eb / Gb Bb Dd
let
Ab EbGb/Ab C Eb me speak
F C F / Ab C Eb life to you,
Bb F / Bb Db
you can de
Gb Db F/ Gb Bb Db pend on
G Db Eb/ G Bb Db God
Ab Eb / Gb Bb Db
to see you
Bb F / Bb Db thru, you can de-
Gb Db F/ Gb Bb Db pend on
G Db Eb/ G Bb Db me,
Ab Eb Gb/ Ab C Eb
to pray for
Db Ab / Db F Ab you ...
I pray for
B Eb Gb/ B Eb Gb you, you pray for (Here we see the use of the "Flat Seventh" chord.
Since we are in the key of "Db", the "borrowed Flat
seventh is, "Cb" or the "B" chord.)
Gb Db/ Gb Bb Db me, and watch God
Ab Eb / Ab C Eb change
Db Ab / Db F Ab things ...
(Repeat as led by leader)
Hope that this example is helpful, "Be Blessed" ... BroAllan ;)
It would help more if I knew the song; but, thanks, nonetheless. :)
If someone could upload the original song here to LGM media, that would be great. ;)
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It would help more if I knew the song; but, thanks, nonetheless. :)
If someone could upload the original song here to LGM media, that would be great. ;)
It's here (http://youtube.com/watch?v=zt67dqnWDHw)
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anyone have the mp3 to this song i cant view the youtube clip
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It would help more if I knew the song; but, thanks, nonetheless. :)
If someone could upload the original song here to LGM media, that would be great. ;)
It's here ([url]http://youtube.com/watch?v=zt67dqnWDHw[/url])
Thanks Musallio! :)
(Perhaps other songs could be posted, to show more examples ... :) )
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Right on BroAllan, on the case again! 'Preciate it!
BroAllan, if i understand what you and T-block taught me like i THINK i do, you or anyone who knows what this is about can tell me if i (when in a Major key) successfully captured the three "most common" BORROWED CHORD tones (b7, b6, & b3) in the following (3) relatively simple examples. (key of CMaj).
A Major key's scale DOES NOT contain the (b7, b6, or b3). These three chord tones are located in the Major key's "Parallel minor" scale (the minor scale with the same letter name as the Major scale. ex: DMaj/Dmin, GbMaj/Gbmin - all parallel's of one another), but notice how all three tones can STILL successfully be "borrowed" from the minor key and used in the Major key "without losing the key".
1) featuring the b7:
(numbered chord tone____LH / RH_____chord name_____(number of beats)
3____E / B, D, G__________(Em7)_______________(2 beats)
6____A / G, C, E__________(Gm7)______________ (2 beats)
2____D / A, C, F__________(Dm7)______________ (2 beats)
5____G / A, C, F _________ (G7sus4,9)__________ (2 beats)
b7__ Bb / G, Ab, C, Eb___ (Bb7sus4,9,13)_____(4 beats)
1____C / G, B, C, E________(CM7)______________ (4 beats)
b7__ Bb / A, C, D, F_____ (BbM7,9)__________(4 beats)
1____C / G, B, C, E________(CM7)______________ (4 beats)
Notice how the b7 was able to be used as both a 13sus4 & a M9 in two fairly familiar movements. Also notice that the key was not lost.
========================================================================
2) featuring the b6:
1____C / E, G, B, D________ (CM7,9)_____________(4 beats)
b6__ Ab / G, Ab, C, Eb____(AbM7)___________ (2 beats)
5____G / F, A, C, E________ (G7sus4,9,13)________(2 beats)
1____C / E, G, B, D________ (CM7,9)_____________(4 beats)
Again, another fairly familiar movement, this time using the b6 as a Major chord. Again, the key was not lost.
=========================================================================
3) And finally featuring, the Hammond b3 (just a joke), the "flat 3" actually:
1____C / E, G, B, D__________(M7,9) _____________(4 beats)
b3__ Eb / F, G, Bb, D______ (M7,9)___________ (2 beats)
5____G / F, A, C, E__________(G7sus4,9,13)_______ (2 beats)
1____C / E, G, B, D__________(M7,9) _____________(4 beats)
1____C / E, G, B, D__________(M7,9)______________(4 beats)
b3__ Eb / F, G, Bb, D______ (M7,9)____________(2 beats)
b2___Db / Eb, F, Ab, C_______(M7,9)______________(2 beats)
1____C / E, G, B, D__________(M7,9)______________(4 beats)
1____C / E, G, B, D__________(M7,9)______________(4 beats)
b3__ Eb / F, Ab, Db, Eb ____(Eb7sus9)_________(4 beats)
1____C / E, G, B, D__________(M7,9)______________(4 beats)
Here we have three different examples for you to Hear how the b3 can be applied in fairly familiar movements, as a major chord & also a sus chord, while once again maintaining the key.
If i made any miss-steps anywhere, please let me know. 8)
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(note): didn't proof read this well enough. Too many mistakes. This should clean it up, hopefully.
Right on BroAllan, on the case again! 'Preciate it!
BroAllan, if i understand what you and T-block taught me like i THINK i do, you or anyone who knows what this is about can tell me if i (when in a Major key) successfully captured the three "most common" BORROWED CHORD tones (b7, b6, & b3) in the following (3) relatively simple examples. (key of CMaj).
A Major key's scale DOES NOT contain the (b7, b6, or b3). These three chord tones are located in the Major key's "Parallel minor" scale (the minor scale with the same letter name as the Major scale. ex: DMaj/Dmin, GbMaj/Gbmin - both parallel's of one another), but notice how all three tones can STILL successfully be "borrowed" from the minor key and used in the Major key "without losing the key".
1) featuring the b7:
(numbered chord tone____LH / RH_____chord name_____(number of beats)
3____E / B, D, G__________(Em7)_______________(2 beats)
6____A / G, C, E__________(Am7)______________ (2 beats)
2____D / A, C, F__________(Dm7)______________ (2 beats)
5____G / A, C, F _________ (G7sus4,9)__________ (2 beats)
b7__ Bb / G, Ab, C, Eb___ (Bb7sus4,9,13)_____(4 beats)
1____C / G, B, C, E________(CM7)______________ (4 beats)
b7__ Bb / A, C, D, F_____ (BbM7,9)__________(4 beats)
1____C / G, B, C, E________(CM7)______________ (4 beats)
Notice how the b7 was able to be used as both a 13sus4 & a M9 in two fairly familiar movements. Also notice that the key was not lost.
========================================================================
2) featuring the b6:
1____C / E, G, B, D________ (CM7,9)_____________(4 beats)
b6__ Ab / G, Ab, C, Eb____(AbM7)___________ (2 beats)
5____G / F, A, C, E________ (G7sus4,9,13)________(2 beats)
1____C / E, G, B, D________ (CM7,9)_____________(4 beats)
Again, another fairly familiar movement, this time using the b6 as a Major chord. Again, the key was not lost.
=========================================================================
3) And finally featuring, the Hammond b3 (just a joke), the "flat 3" actually:
1____C / E, G, B, D__________(CM7,9) ___________ (4 beats)
b3__ Eb / F, G, Bb, D______ (EbM7,9)_________ (2 beats)
5____G / F, A, C, E__________(G7sus4,9,13)_______(2 beats)
1____C / E, G, B, D__________(CM7,9) ___________ (4 beats)
1____C / E, G, B, D__________(CM7,9)_____________(4 beats)
b3__ Eb / F, G, Bb, D______ (EbM7,9)__________(2 beats)
b2___Db / Eb, F, Ab, C_______(DbM7,9)____________(2 beats)
1____C / E, G, B, D__________(CM7,9)_____________(4 beats)
1____C / E, G, B, D__________(CM7,9)_____________ (4 beats)
b3__ Eb / F, Ab, Db, Eb ____(Eb7sus9)_________ (4 beats)
1____C / E, G, B, D__________(CM7,9)_____________ (4 beats)
Here we have three different examples for you to Hear how the b3 can be applied in fairly familiar movements, as a major chord & also a sus chord, while once again maintaining the key.
If i made any miss-steps anywhere, please let me know. 8)
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note: it's a beautiful thing to borrow chords, and enjoy them forever.
However, if you borrow money, make sure you pay it back!!
And also, if you haven't paid it back, and you tell me about this new fly plasma tv you 'bout to get, then i ask you about my money - don't get mad!! 8)
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These are very nice progressions, I am going to borrow them from you.
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These are very nice progressions, I am going to borrow them from you.
No prob!!...enjoy. 8)
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Hey, I like those nice progressions, Seemunny.
Thanks for posting them ...
Another simple and common way that the "Flat Sixth" and the "Flat Seventh" chords are used, is at the end of a song, when you want to build up the ending with power!
An example is the song, "I lift up my hands" by Israel Houghton and New Breed, off of the "New Season" album. They modulate several times in that song, and they end up in the key of "G". When they come to the end of the song, they play the "Flat Sixth" chord (Eb), Flat Seventh (F), and end on the 1 chord (G). Simple, yet very effective in building a powerful cresendo at the end.
Just another way to use "borrowed" chords. God bless ... :)
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anyone have the mp3 to this song i cant view the youtube clip
COSIGN. Especially at work.
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musallio: May I please borrow these progressions from you seemunny..
Seemunny: yes why not musallio! ;D
musallio: Won't I have to repay them ?/? :-\
Seemunny: Of course not musallio..your debt has been paid in full...anyway, this is not $.. ;D
musallio: Thank you seemunny...please get another set ready coz I'll be haunting you for more ;D ;D
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musallio: Thank you seemunny...please get another set ready coz I'll be haunting you for more ;D ;D
HAHA! Aww man, chords coming right up! Just don't haunt me with the long silky cape and the big sharp teeth! :o
Maybe some Steve Urkel pants and suspenders would less frightening! 8)
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Maybe some Steve Urkel pants and suspenders would less frightening! 8)
"....would BE less frightening!" (typo) 8)
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Hey, I like those nice progressions, Seemunny.
Thanks for posting them ...
Thx BroAllen, my pleasure!
I checked out "I Lift Up My Hands" by Israel Houghton, and heard that build up you referred to.
That build-up is one of the "classic" build-ups and used often in songs! Good example!
When i first ask the question about "borrowed chords", then you broke it down, one of the first ways i discovered to use them was exactly that build-up movement! The only reason i didn't include it in my progression examples is because i just decided to individually isolate each tone to hear the character of each tone individually.
Also, there's one other song that comes to mind that features that classic (b6, b7, root) movement, throughout the ENTIRE SONG (lol), and that's Stevie Wonder's "I Was Made To Love Her".
You'll hear it through the whole song on the "yeah! yeah! yeah!" part. [yeah! (b6)...yeah!(b7)....yeah! (root)]
Good stuff BroAllan. There's nothing like soakin up some good knowledge! 8)
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I got two questions
Are borrowed chords also good for chord substitutions??? (like substitute the VI for bVI perhaps)
And what about the bII and the bV/#IV, can these two also be used?? 8) (perhaps in a other concept than the "borrowed chord")
Example of "C major" key : C, D, E, F, G, A, B ...
"Parallel minor" key to "C major" : C, D, Eb, F, G, Ab, Bb ... (Note that the "parallel minor" key starts on the same note as it's "parallel major" key.)
Very interesting post....... Bless
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I got two questions
Are borrowed chords also good for chord substitutions??? (like substitute the VI for bVI perhaps)
And what about the bII and the bV/#IV, can these two also be used?? 8) (perhaps in a other concept than the "borrowed chord")
Very interesting post....... Bless
To answer both your questions, yes borrowed chords can be good for chord substitutions, but you gotta be careful which ones u use at which time. There is a tendency to modulate to the "borrowed chords key" if u use them incorrectly, unless that's your purpose. I'd say experiment with all of them until u found out which ones give u the sound you're looking for.
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Wow, this is some good stuff!! Thanks everyone!!
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I guess what I'm saying at this point is, try determining just the bass line for a tune and then experiment with different basic qualities regardless of what the chord quality is "supposed" to be in a key. Some will work, some won't, but it will open up some new possibilities.
yes borrowed chords can be good for chord substitutions,I'd say experiment with all of them until u found out which ones give u the sound you're looking for.
I'm discovering this to be truer & truer everyday! Man, you can almost substitute anything for anything if you have a clear direction that you want it to go in!
You hear that you can substitute majors in place of minors...dominants in place of minors....suspendeds in place of dominants....dominants in place of majors! Man, it goes on & on!! :o
With that logic, if you can put a dominant in place of a minor, then probably once it becomes dominant, NOW ALL THE DOMINANT SUBSTITUTION TRICKS CAN BE USED!
It's like MCS ("morphing chords syndrome!") lol.....
All these chords have their own substitutions, BUT, after you substitute it, and it becomes ANOTHER CHORD, now you can use all of THAT chords substitution options!! ....That train will NEVER stop! lol
This is fascinating!! lol....Ohhh, how i love the WWO ("the Wonderful World of OPTIONS!!!") 8)
For instance, if you can play a dominant in place of a major, now that the major has morphed into a dominant, you might now be able to use the "tritone substitution trick". Which ultimately means that you just used the tritone sub for a MAJOR!! lol
Or, let's say you play a major for a minor, maybe theoretically since that minor has morphed into a major, now you can use that majors "relative minor!" (of course paying close attention to the LEADING tone to tie it all together).
But with all those theoretical possibilities, you could conceivably have a ball completely twisting up some progressions JUST FOR FUN, then untwisting it again! lol :D
At this point, it's still somewhat "theoretical" to me. But some light bulbs have indeed been turned on!
Thanks to T-block, BroAllan, Rspindy and everybody on LGM that contributes their knowledge and ideas! 8)
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I'm discovering this to be truer & truer everyday! Man, you can almost substitute anything for anything if you have a clear direction that you want it to go in!
You hear that you can substitute majors in place of minors...dominants in place of minors....suspendeds in place of dominants....dominants in place of majors! Man, it goes on & on!! :o
With that logic, if you can put a dominant in place of a minor, then probably once it becomes dominant, NOW ALL THE DOMINANT SUBSTITUTION TRICKS CAN BE USED!
It's like MCS ("morphing chords syndrome!") lol.....
All these chords have their own substitutions, BUT, after you substitute it, and it becomes ANOTHER CHORD, now you can use all of THAT chords substitution options!! ....That train will NEVER stop! lol
This is fascinating!! lol....Ohhh, how i love the WWO ("the Wonderful World of OPTIONS!!!") 8)
For instance, if you can play a dominant in place of a major, now that the major has morphed into a dominant, you might now be able to use the "tritone substitution trick". Which ultimately means that you just used the tritone sub for a MAJOR!! lol
Or, let's say you play a major for a minor, maybe theoretically since that minor has morphed into a major, now you can use that majors "relative minor!" (of course paying close attention to the LEADING tone to tie it all together).
But with all those theoretical possibilities, you could conceivably have a ball completely twisting up some progressions JUST FOR FUN, then untwisting it again! lol :D
At this point, it's still somewhat "theoretical" to me. But some light bulbs have indeed been turned on!
Thanks to T-block, BroAllan, Rspindy and everybody on LGM that contributes their knowledge and ideas! 8)
Thank You Lord, for "LGM"!!! :D :D
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Thank You Lord, for "LGM"!!! :D :D
I got two chords for that:
Eb / Ab-C-Eb
Eb / G-Bb-Eb
"Ahhh-mennn" 8)