Have you ever wondered how some songs surprise our ears with unexpected and exciting harmonies? Welcome to the fascinating world of modal borrowing! In this post, we’ll dive deep into this musical concept that has the power to transform common progressions into unique sonic experiences. Whether you’re a beginner musician or an experienced professional, get ready to discover how small harmonic changes can create big impacts on your music.
A Chord Outside the Box
Imagine listening to The Beatles’ “In My Life” for the first time. The song is in A major, everything flows smoothly, when suddenly… Bam! A D minor chord appears as if it were lost. But it’s not. This “intruder” is a brilliant example of modal borrowing.
In A major, we would expect a D major on the fourth degree, but the use of D minor, which belongs to the parallel scale of A minor, adds a unique depth and melancholy to the song.
This small deviation from the norm enriches the music and shows us how innovative ideas can emerge when we dare to step out of the conventional.
Example of Modal Borrowing on the IV degree of the song My Life – Beatles
To better understand, let’s consider the example of the C major and C minor scales. The minor scale is also called the Aeolian mode, hence the modal borrowing name. We are looking for a chord in the harmonic field of another mode other than Ionian (major scale). In the C major scale, all notes are natural and, therefore, will generate natural chords. In the C minor scale, the third, sixth, and seventh are minor, as seen in the following figure.
Parallel Major and Minor Scales
Between Major and Minor
Some songs are true harmonic chameleons, transitioning so skillfully between major and minor scales that it’s difficult to say whether they’re in a major or minor key.
In these compositions, modal borrowing is used so balanced that it creates a kind of harmonic “neutral zone”. It’s not major, it’s not minor, it’s… something unique.
Jimmy Hendrix’s song “Hey Joe” is an excellent example. The blues itself mixes major and minor scales. In this Jimmy Hendrix song, some chords belong to the E major scale, and others belong to the E minor scale. The E major tonic seems to define the major scale, but the C major, D major, and G major chords are not part of the E major scale (E, F#, G#, A, B, C#, D#).
Hey Joe example by Jimmy Hendrix
In blues, chords, and notes from major and minor scales coexist in harmony (literally!), creating tensions and resolutions that are the genre’s soul.
Beyond Major and Minor: Exploring Other Modes
When we talk about modal borrowing, many musicians only think of borrowing from the parallel major or minor scale. But what if I tell you there’s a whole world of possibilities beyond that?
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. These are the seven modes of the major scale, each with its own harmonic “personality”. Using chords from these modes in your music is like adding new spices to an already delicious recipe.
For example, taking a chord from the Phrygian mode can bring an exotic and mysterious flavor to your progression. A chord from the Lydian mode can add a touch of brightness and elevation.
Modal Borrowing in Practice: Practical Examples
Let’s take a look at how some famous artists have used modal borrowing to create memorable songs:
“Light My Fire” (The Doors): The song is in A minor but uses an F# minor chord, which comes from the parallel mode of A major. This adds a touch of exoticism to the progression.
See examples with Modal borrowing and without Modal Borrowing for this song below:
Example of Light My Fire without replacing with the modal borrowing chord
Example of Light My Fire with modal borrowing chord
“Are You Gonna Be My Girl” (Jet): This song is a good example of how mixing chords from major and minor scales can create a unique and captivating sound.
“Gimme Shelter” (The Rolling Stones): Here we have an interesting case where the tonic chord is major, but most other chords come from the parallel minor scale.
These examples show how modal borrowing can be used in subtle or bold ways to create rich and interesting harmonic textures.
Be Careful with the Tonic and Subdominants
If the song is perceived as cheerful or positive and is in a major key, a dramatic change in the tonic will make it sadder and darker. If this change is not intentional, avoid replacing the tonic. The same is true for subdominants or the fifth of the scale, as this is a tension chord that prepares for resolution.
Altering the tonic can confuse the listener’s perception, and changing the quality of the subdominant chord can eliminate the tension that calls for resolution. If we change the V7 chord, we lose the dominant cadence that defines the harmony in the major key.
Tips for Incorporating Modal Borrowing in Your Compositions
Start slowly: Try replacing just one chord in your progression with its version from another mode.
Be careful with the tonic and subdominant
Explore the modes: Familiarize yourself with the different modes and their characteristic sounds.
Use your intuition: Sometimes, what sounds “wrong” in theory can sound amazing in practice. Trust your ears.
Study great compositions: Analyze how your favorite artists use modal borrowing.
Practice, practice, practice: Like everything in music (and life), practice makes perfect.
References
Mulholland, J., & Hojnacki, T. (2013). The Berklee Book of Jazz Harmony. Berklee Press.
Levine, M. (2011). The Jazz Theory Book. O’Reilly Media, Inc.
Nettles, B., & Graf, R. (1997). The Chord Scale Theory & Jazz Harmony. Advance Music.
