CHAPTER 4

Borrowed Chords

In major keys: ii ø 6 , ii Ø 7 , In minor keys: I Modal mixture

TOPICS iv, b VI, vii ø 7 (Picardy 3rd)

IMPORTANT Borrowed chords are chords borrowed from a parallel major or minor key. Another term
CONCEPTS often used is modal mixture.

Because the parallel minor key with its three scale forms provides a rich variety of triad
Borrowed Chords and 7th chord colors, selections from this assortment are often borrowed for use in major
in Major Keys keys. Although a large number of chords in the minor keys are available, the five borrowed
chords in Figure 4.1 have received by far the greatest utilization by composers.

Figure 4.1
Five diatonic chords in D major:
## www www www www www
& w w
D: ii ii 7 IV vi vii Ø 7

Same chords borrowed from parallel minor:

# b wwww b www b n www
& # b ww
w
b ww
ww
D: ii ø ii Ø 7 iv b VI vii ø7

The chords in Figure 4.1 are borrowed from the parallel minor, which accounts for the
alterations. Notice that B, the sixth scale degree in D major, is lowered to Bb in each of
the borrowed chords. This lowered sixth scale degree is a distinctive characteristic of bor-
rowed chords in major keys and can be used to identify chords from the parallel mode.

Common Positions Although borrowed chords may occur in any position, certain positions are most com-
monly associated with each of the chords.

71

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 Chord Most Common Fairly Common

ii ø ii ø 6 —

ii Ø 7 ii Ø 65 ii Ø 7 , ii Ø 34
iv iv iv6
bVI bVI —
vii ø 7 vii ø 65 vii ø 34, vii ø 42

Progression All borrowed chords progress in the same manner as the diatonic chords they replace,
except for the bVI, which progresses to V or V7.

Purpose Borrowed chords are almost universally used as color chords: that is, they are employed to
provide variety through the use of contrasting scale forms. Figure 4.2 from the song cycle
Die Winterreise (Winter’s Journey), in F minor, contains two color chords—a borrowed
ii ø 6 and a borrowed iv.

Figure 4.2
Schubert: “Das Wirtshaus” (The Inn) from Die Winterreise (Winter’s Journey), op. 89, no. 21, D. 911, mm. 8–9.

j j r j j j j j œ. r
&b c œ œ. œ œ œ
j
œ œ œ œ œ Jœ J œ œ
All - hier will ich ein - keh - ren, hab ich bei mir ge - dacht.
j
& b c œœ œœ b œœœ œœ œœ œœ œœ œœ œœ œœ .. œœ œ
. œ. œ œ
? b c Jœœ œ œ œ œ œ. œ œœ
œ œ. œ. œ. œ bœ œ œ. œ
J
Chord no.: 1 2 3 4 5 6 7 8 9 10 11

g Bb bb gø (F) C F7 Bb (F) C7 F

F: ii IV iv ii ø 6 ( I 64 ) V V 42 / IV IV6 ( I 64 ) V7 I
Borrowed chords

In Figure 4.2, borrowed chords occur at chord numbers 3 and 4. Play the piano part (the
two lower staves) of the example twice, once as written and once ignoring the D-flats in
both chords 3 and 4. Although the composition would sound acceptable without the acci-
dentals, the addition of the borrowed chords gives the example a unique effect. The effects
generated by borrowed chords are often referred to as “color” effects. Can you name at
least two chords in Figure 4.2 that are not part of circle progressions (neither the begin-
ning nor the ending of a circle progression)? In performing this work, would it be proper
to emphasize (play louder) the D-flats in chords 3 and 4? Does your answer agree with that
of your instructor?
Figure 4.3, “Wanderers Nachtlied,” illustrates a vii ø 43 and a ii Ø 65 borrowed from Bb minor.

72 PART B Chromatic Harmony

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 Figure 4.3

Schubert: “Wanderers Nachtlied” (Wanderers’ Night Song) II, op. 96, no. 3, D. 768, mm. 4–6.

b œ œ. œ œ. œ œ œ. œ œ bœ. œ œ
& b c œ. J J J R R R œ
‰
Ruh, in al - len Wip - feln spü - rest du kaum ei - nen Hauch;
b
&b c ˙ œ œ œ. œ
? b b c ˙˙ œ œœ b œœ œœ ≈ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œ œœ
˙ œ nœ
œ œ œ œ œ b œ œ œ nœ n œ œ œ œ
˙
Chord no.: 1 2 3 4 5 6 7 8

Bb E b (B b ) a ø7 Bb c Ø7 e ø7 F

B b: I IV 6 ( I 64 ) vii ø 43 I6 ii Ø 65 vii ø 7/ V I

Borrowed Borrowed
chord chord

As with other examples of borrowed chords, the borrowed vii ø 7 and borrowed ii Ø 7 in
Figure 4.3 have no influence on the circle progressions (Bb to E b , a ø 7 to Bb , and e ø 7 to F).
They are maintained throughout, but the delicate changes in mode generate interesting
musical effects not available in major or minor systems alone. Play this example, first with
the G-flats (as written) and a second time with G-naturals. Do you like Schubert’s choice
of borrowed chords? Note that the leading-tone 7th chord (vii ø 43) still resolves to the tonic
and that the borrowed ii Ø 65 still moves to the dominant at the end of the excerpt.
Figure 4.4, an excerpt from Bach’s “Vater unser im Himmelreich,” contains a bVI bor-
rowed from F minor.

Figure 4.4

Bach: “Vater unser im Himmelreich” (Our Father in Heaven), BWV 90.5, m. 10.

U
& b c œœ œ œœ œœ . œ œ œ
J
j
œ.
? b c œœ œœ œ bœ
œ œ œ œ œ bœ
Chord no.: 1 2 3 4 5 6

C F d g7 C Db

F: V6 I vi ii 65 V b VI
Borrowed chord

CHAPTER 4 Borrowed Chords 73

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 The final chord (no. 6) in Figure 4.4 is a cadence ending with a borrowed chord. Can
you name the cadence type at numbers 5 and 6? Notice also that circle progressions domi-
nate the example and are missing only at the very last progression (C to D b ). Play the
example first as written, then with an F major triad substituting for the D b chord at the
cadence (thus creating an authentic cadence).
Figure 4.5 illustrates the tonic chord (I) borrowed from the parallel major.

Figure 4.5
Picardy 3rd:
#
& # www
e: I

Bach: “Jesu, meine Freude” (Jesus, My Joy), BWV 81.7, mm. 12–13.

#
& c œœ œ
œ #œ œœ œ œ œ ˙œ # œ ww

? # c œœ œœ œœ œ œ œœ #œ œ nœ #w
œ œ œ #œ œ
w
Chord no.: 1 2 3 4 5 6 7

e a e F#7 B E

e: i i6 iv 6 i V 65 /V V I
Picardy 3rd

The Picardy 3rd (chord no. 7) that ends Figure 4.5 is a pattern that dates back to the
Renaissance period, where cadences ending with minor triads were not considered strong
enough and had to be changed to major.
The final chord, the Picardy 3rd of this excerpt, is by no means a requirement. Play
the example, first as written and then without the G-sharp (play G-natural). Most students
agree that using the Picardy 3rd is indeed an interesting artistic gesture, but it is by no
means a necessity.
Chord no. 5 (F # 7) is a secondary dominant. How would you change the fifth chord from
a secondary dominant to a diatonic 7th chord?

Mixing of major and minor modes developed in the baroque period and was considered a
History part of the general style (Figure 4.6).

74 PART B Chromatic Harmony

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 Figure 4.6

Bach: Prelude no. 1 in C Major from The Well-Tempered Clavier, Book I, BWV 846, mm. 13–15.

& c ‰ œœœœœœ‰ œœœœœœ ‰ œœ œœœœ‰ œœ œœœœ ‰ œ œ œ œœ‰ œ œ œ œ œœ

œ
≈ œj . œ ≈ œj . œ ≈ b œj . œ ≈ œj . œ ≈ j ≈ j
?c ˙ ˙ ˙ ˙ ˙œ . œ ˙œ . œ
d b ø7 C

C: ii 6 vii ø 43 I6

Borrowed chord

Composers in the classical period also used borrowed chords. Their frequency and use
is little changed from that of the baroque. Notice the similar borrowed chord use (vii ø 43) in
Figures 4.6 and 4.7.

Figure 4.7
Mozart: Sonata in D Major, K. 576, II: Adagio, mm. 13–16.

### 3 œ. œ œ œ œ œ œ œ œ œ. œ œ
n˙ # œ œ # œ œ n œ œ œ œ . œ. œ . œ j
& 4 œ œœœ œ
S Fp j
j œ œ œœ œ
? # # # 43 & nœ ‰ # œ œ œœ œ ‰ ? Jœ ‰ Jœ ‰ .
œœ n œœ œœ œ œ œ
#œ
a# ø7 b g# ø7 A a# ø7 b A E7 A

A: vii ø 7/ ii ii vii ø 43 I6 vii ø 65 / ii ii 6 I6 V7 I

Borrowed chord

The romantic and post-romantic period saw a freer use of borrowed chords, including a
chromatic approach and departure. The excerpt in Figure 4.8, by Hugo Wolf (1860–1903),
shows the typical vi–ii–V circle progression but also includes two examples of the bor-
rowed chord ii Ø 7 .

CHAPTER 4 Borrowed Chords 75

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 Figure 4.8

Wolf: “Wiegenlied” (Cradle Song), mm. 26–30.

b j j j j j j
& b b 43 ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ
Wang - lein das es lie - ge in der Wie - ge wie in Pa - ra - die - ses

b
& b b 43 ˙˙ œœ œ˙ .œ œ œ œ˙ . œ œ œ œ˙ œ œ œ
œ
˙˙
œ
œ œ œœ ˙˙ b œœ n ˙˙ b œœ œ nœ œ
œ
? b b 43 œ œ œ œ œ œ œ œ
b ˙.
Eb c f7 f Ø7 f7 f Ø7 (E b ) B b7

E b: I I6 vi ii 65 ii Ø 7 ii 65 ii Ø 7 ( I 64 ) V7

Borrowed Borrowed
chord chord

APPLICATIONS A few guidelines, which you already know, will make doubling of borrowed chords easy.
Do not double either of the notes that create a tritone. It is generally best not to double an
Doubling and Voice altered note. Usually the best note to double in any situation is the first, fourth, or fifth
Leading scale degree.

The ii ø 6 Chord The ii ø 6 chord is usually found in first inversion because it is a diminished triad. Double
the bass note of the ii ø 6 chord (not part of the tritone). Move the bass voice upward by step,
and move the upper three voices in contrary motion to the bass when moving to V or V7.
See Figures 4.2 and 4.9a and b for examples.

The ii Ø 56 Chord In the ii Ø 65 chord, all four factors (root, 3rd, 5th, and 7th) are usually present. Otherwise,
the recommendations for ii ø 6 apply for ii Ø 65 as well. Move the bass voice upward by step,
and the upper three voices in contrary motion to the bass when moving to V or V7. See
Figures 4.3 and 4.9c and d.

The iv Chord The iv chord follows the preceding general principles. In root position, double the bass.
When progressing to V or V7, move the bass voice up a step and the upper three voices in
contrary motion to the bass. See Figure 4.2 for an example. This chord contains no tritone.
Another example can be found in Figure 4.9e.

The bVI Chord Double the tonic (the 3rd of triad and first scale degree) of the bVI chord. Move the bass
voice downward and at least two of the upper voices upward. As usual, parallel unisons,
5ths, and octaves are avoided. See Figures 4.4 and 4.9f and g for examples.

The vii ø 7 Chord The diminished 7th chord appears with all four factors. The chord is usually in root posi-
tion, but other positions may appear from time to time. The diminished 7th chord contains
two tritones, but often only one can be resolved. In root position, move the bass voice up to
tonic and the upper three voices downward in contrary motion. See Figures 4.3 and 4.9h.

The Picardy 3rd This is the major tonic (I) in a minor key. The Picardy 3rd chord is customarily in root
position at the ending of a composition or a large musical section. Double the bass (root)
of I. See Figure 4.5 for an example.

76 PART B Chromatic Harmony

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 Figure 4.9 shows standard voice-leading patterns for borrowed chords.

Figure 4.9
a. b. c. d.

& b œœ œœ b œœ œœ b œœ œœ b œœ œœ
œ œœ œ œœ œ œœ œ œœ
? œ œ œ œ

C: ii ø 6 V ii ø 6 V7 ii Ø 65 V ii Ø 65 V7

e. f. g. h.

& b œœ œœ œ œœ œ œœ b œœ œœ
bœ bœ
œ œœ œ œ œ œ œ œ
? œ œ œ
bœ œ bœ œ
C: iv V b VI V b VI V vii ø 7 I

CHAPTER 4 Borrowed Chords 77

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3752_ben01885_Ch04pp69-84.indd 78 5/13/08 3:29:47 PM
 Assignment 4.1 Spell the requested borrowed chords in the keys indicated.

1. (Ex.) 2. 3. 4. 5. 6. 7.
## ##
& b ww b bbb bbbbbb bbbbb bbb
ww
D: vii ø 7 F: b VI E b : ii Ø 7 G b : iv b: I D b : ii ø E b : vii ø 7

#### ### ####

8. 9. 10. 11. 12. 13. 14.
#
& bb bbb bbbb #
E: nVI B b : iv A: ii Ø 7 c: I G: ii ø A b : vii ø 7 B: ii Ø 7

Assignment 4.2 1. Write each requested chord in four-part harmony on the staves provided.
2. Write the chord that most conventionally follows the chord you wrote in step 1.
3. Analyze both chords.
4. The example illustrates the correct procedure.

### ####
1. (Ex.) 2. 3. 4. 5.
## œ
& œ œ
œ b bbbb #

? # # b œœ œœ ### ####
b bbbb #
D: vii ø 5
6
I F: ii Ø 5 ____
6
A: iv 6 ____ A b : ii ø 6 ____ B: n VI ____

#### #### #
6. 7. 8. 9. 10.
b #
& b bbbb bbbbb #

? bbb
bbb #### bbbbb
#### # #
#
G b : ii Ø 2 ____ D b : vii ø 7 ____ F # : ii ø 6 ____
4 4
E: iv 6 ____ G: vii ø 3 ____

CHAPTER 4 Borrowed Chords 79

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 Assignment 4.3 Following are four-part phrases with alto and tenor voices omitted.
As a keyboard assignment:
If your instructor requests you to do so, play each chorale phrase on the piano, adding the
alto and tenor voices according to the figured-bass symbols. If you have difficulty with this
assignment, try the following suggestions:
1. Play each chord in simple position (all voices within one octave and with the left hand).
Listen to the sound and try to remember the particular quality of each chord.
2. When you have the sounds well in mind, play the two outer voices alone.
3. Start adding the alto and tenor. Play the soprano, alto, and tenor with the right hand and
put your fifth finger on the key representing the soprano voice.
4. Place your third finger on the next factor down and your thumb on the lowest right-hand
factor. Do not leave out any factors in the right hand.
5. Check to see if this position causes a voice-leading error. If not, then proceed to the
next chord and repeat the procedure.
As a written assignment:
1. Add alto and tenor voices according to the figured-bass symbols.
2. Provide a complete harmonic analysis.

U
1.
3
&4 ˙ œ ˙ œ œ ˙ ˙.

?3 ˙ ˙.
4 œ ˙ œ œ œ œ
6 b7 6
b5 b 53

_____: _____ _____ _____ _____ _____ _____ _____ _____

Key

#### U
2.

& c œ œ œ œ œ œ ˙

? #### c œ nœ œ nœ œ ˙
#œ
4 6 6 6 7 5
2 4 5

_____: _____ _____ _____ _____ _____ _____ _____

Key

80 PART B Chromatic Harmony

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 3. U
bb œ œ
&bb c œ œ œ œ œ œ œ

? bbc œ œ œ œ bœ œ bœ œ
bb
b6
b3 n 64 6 4
2
6 6
2

_____: _____ _____ _____ _____ _____ _____ _____ _____

Key

U
4.
b œ œ œ œ
&b c œ œ œ œ w

? bc œ œ œ œ œ
b œ bœ œ w
6
b 53 b 43 6 6

_____: _____ _____ _____ _____ _____ _____ _____ _____ _____
Key

### c œ U
5.

& œ œ œ œ œ ˙ w

? ### c œ œ œ œ œ ˙
#œ w
# # #
6 6
4 #
7

_____: _____ _____ _____ _____ _____ _____ _____ _____

Key

CHAPTER 4 Borrowed Chords 81

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 Assignment 4.4 Each exercise is a figured-bass voice.
As a keyboard assignment:
1. Play each exercise, adding the soprano, alto, and tenor voices.
2. Become familiar with the chords first, then work to obtain an interesting soprano voice
line, perhaps with an ascent and a descent.
3. Look at the soprano melody lines in Assignment 4.3 for ideas.
4. If you have other difficulties with this assignment, use the procedures described in As-
signment 4.3 and adapt them.
As a written assignment:
1. On a separate sheet of paper write out each figured-bass line, leaving a staff above for
the soprano and alto.
2. If you have difficulty with this assignment, write the letter names of each chord factor
under the figured-bass symbols. This will help you fashion a better soprano melody line.
3. When you have decided on a suitable soprano melody line, write it on the staff and fill
in the alto and tenor accordingly.
4. To help in writing the soprano melody, observe the soprano voices in Assignment 4.3.
Each is a traditional chorale melody and will give you an idea of the style.

1.
? b c œ œ U
b œ œ œ œ œ œ
4 6 6 6 6
2
b 35

2.
?# c œ U
œ œ œ œ œ œ œ
6 6
6
b 53 n 53 4

3.
? ## c œ œ œ U
œ œ œ œ œ
6 6 6
b 35

? bb c œ U
4.
œ œ œ œ
œ œ œ
6
# n
b 35

œ bU˙
5.
?# c œ #œ œ œ œ
6 6 b5
b 53 3
3

82 PART B Chromatic Harmony

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 Assignment 4.5 Following is a complete chorale harmonization by Bach. It contains several chromatic chords
and includes modulation.
1. A fermata marks the end of each phrase.
2. Sing the chorale in class and have a class member direct the performance.
3. Make a complete harmonic analysis of the chorale, including circling and labeling each
nonharmonic tone.
4. Discuss the borrowed chords, as well as the secondary dominant and leading-tone
chords appearing in the chorale. Which diatonic chords have been altered to result in
the chromatic chords? Do all of the chromatic chords resolve as expected?

Bach: “Herzliebster Jesu, was hast du verbrochen” (Dearest Jesus, How Hast Thou Transgressed), BWV 245.
CD Track 7

U
b 1 2 3
œœ
& b c œœ œœ œ œœ # œœ œœ n œ # œœ œœ œœ œœ # œœ œœ
œœ
œ œ œœ œ œœ œ œ
? b b c œœ œ œ œ
œ œ œ œ œ # œœ œ
œ #œ œ œ
œ œ

U
b b 4 œ œœ œœ œ œ 5
œ n œ œœ œœ b œœ œ ˙œ œ
6 7
œœ œœ œ œœ n œœ œ b œ
& œ nœ œ œ œ œœ
œœ œœ n œœ œ b œœ œ œœ b œœ œ œ œ œ œ . b œj œ œ œ œ œ œ
? bb œ nœ œ œ #œ œ œ nœ
œ œ œ

bb 8 9 U œœ
10 11 U
& œœ œ œœ œ ˙œ œœ œœ œ ˙œ # œ ˙˙ ..
œœ b œ œ œœœ œœ
œ œ nœ
? b b œœ œ œœ œ œ œ œ œ œœ #œ œœ #œ
œ nœ n˙.
œ
œ œ œ œ œ ˙.

CHAPTER 4 Borrowed Chords 83

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 Assignment 4.6 Following is a complete chorale melody.
1. Harmonize the melody on a separate sheet of score paper.
2. Use a harmonic rhythm of one chord per quarter note.
3. Write out all possible harmonies as described in previous chapters, then select a suit-
able harmonization and write the block chords beneath the melody tones. Be sure to
include at least two or three borrowed chords.
4. Convert the block chords to four-part harmony with special emphasis on an interesting
bass line.
5. Add appropriate nonharmonic tones.
6. Perform the compositions in class using a student quartet, each singing one of the four
parts (soprano, alto, tenor, and bass).

Bach: “Wo Gott zum Haus nicht gibt sein Gunst” (If God Does Not Give His Blessings), BWV 438.

Uœ œ U
&b c œ œ œ œ œ œ œ nœ œ œ bœ œ œ œ œ œ
U œ œ U
&b œ œ œ œ œ œ œ œ œ. œ œ œ œ
J œ

Assignment 4.7 Write a composition of approximately 16 to 24 measures in length.

1. Plan the composition in three-part form.
2. Use four-measure phrases.
3. Plot the harmonic progressions first in block chords.
4. Add an appropriate melody.
5. Convert the block chords to the idiomatic style of the medium you choose. As an ex-
ample, if you write for a group of stringed instruments, arrange the harmony to accom-
modate the peculiarities of the instruments involved.
6. Be sure to include at least three or four borrowed chords. Remember that borrowed
chords can generally substitute for their diatonic counterparts.

84 PART B Chromatic Harmony

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