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Theory2
From
FundamentalsofJazzImprovisation:WhatEverybodyThinksYouAlreadyKnow 
Dr.MarkWatkinsDirectorofJazzStudiesBrighamYoungUniversity–Idaho
©2010byMarkWatkins
Materials herein are provided for personal use. No part may be reproduced withoutwritten permission from the author.
 
 
ModalBorrowing
Someofthe“alteredchords”usedinjazzwhileinbothmajorandminormodesarederivedfrom
modalborrowing
.Thisconceptinvolvestheuseofchordqualitiesindicativeofonemodewhileinanother.Forexample,thedominantchordinmajor(G7inthekeyCmajor)naturallycontainstheleadingtoneB‐natural).Thistoneisnecessaryforthedominant’s
active
qualityanditsfunctiontoresolvetotonic.Intheminormodedominantdoesnotcontaintheleadingtone(B‐flatratherthanB‐naturalinthekeyofCminor).Inminor,theleadingtoneis
borrowed 
frommajorinorderforthedominanttofunction.Inothersituations,chordqualitiesare
borrowed 
notforthenecessityoffunctionbutforthequalityofsound.Thehalf‐diminishedsoundisviiøinmajorbutiiøinminor.The9
th
inthemajormodeismajorwhilethe9
th
inminorisminor.Thus,theiiV7progressioninmajorisminor/minor(ii7)andmajor/minor(V7)whileinminorthenaturalqualitiesarehalf‐diminished(iiø)andmajor/minorflat‐9(giventheborrowedleadingtoneasexplainedabove).Ifoneisinthemajormode,thequalitiesnormaltominorcanbe
borrowed 
creatingan“altered”progression:iiøV7(flat‐9)I.Becausehalf‐diminishedisafunctionofviiøinmajor,itisoftenwrittenasminor7flat‐5toshowafunctionofsupertonic(ii).Theexamplesbelowdemonstrate.MajorModeChordFunctionsMinorModeChordFunctionsiiV7IinMajorQualitiesthatoccurnormallyfromkeysignatureare:ii=minor/minor7,major9;V=major/major7,major9;I=major/major7,major9.
 
 
iiøV7
(
 b
9)
iinMinorQualitiesthatoccurnormallyfromthekeysignatureare:ii=half‐diminished7,minor9;V=minor/minor7,minor9;i=minor/minor7,major9.Theminor9onsupertonicisnotcommon.Useofthehalf‐diminishedwithoutthe9
th
oruseofthemajor9borrowedfromthemajormodeispreferred.Thedominantchordwithoutalterationdoesnotcontaintheleadingtone.Useofthemajor3
rd
(leadingtone)borrowedfromthemajormodeisconsiderednormaltotheminormode.Tonicsometimescontainsamajor7
th
inlieuoftheminor7
th
butnotacommonassumption.Minor(MajorBorrowing)Major(MinorBorrowing)MinoriiøV7(
 b
9)i#1:blanketingTheharmonicminorscalebsedontoniccanbeusedonallchordsoftheprogression.
Mode
terminologycanbeappliedwhenscalechoicesstartondifferentdegreesthantonic.Forexample,whenoneplaystheharmonicminorscalestartingonthesecondscaledegreeitisreferredtoasthe
 2ndmodeoftheharmonicminor 
.ThisappliestosupertonicintheiiøV7(flat‐9)iprogression.Likewise,the
5 
th
modeoftheharmonicminor 
appliestoV7(flat‐9).Theharmonicminorstartingontonicincludesthemajor7
th
andcanbesuperimposedonimelodically,usuallyinpassing,eveniftheminor7
th
is7
th
inthechord(harmonyinstrumentswillnotplayboth).
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