- Explore diatonic chord foundations
- Understand borrowing from parallel keys
- Learn to enrich compositions with complexity
- Discover tritone substitutions, secondary dominants
- Transform music with advanced harmonic techniques
How was this episode?
Overall
Good
Average
Bad
Engaging
Good
Average
Bad
Accurate
Good
Average
Bad
Tone
Good
Average
Bad
TranscriptWelcome to the fascinating world of music theory and the art of songwriting. The journey into composition is one of discovery and innovation, where the melding of harmonic structures forms the backbone of emotive storytelling. In the realm of music, each key carries its own family of chords, seven to be precise, derived from the parent scale of that key. These are the diatonic chords, a foundation upon which countless successful songs have been built.
Yet, as with any art form, creativity thrives on the freedom to explore beyond conventional boundaries. In songwriting, this often involves venturing into the realm of borrowed chords. Borrowed chords, as the term suggests, are sourced from a key parallel to the one initially chosen for the composition. Such parallel keys share a common root note or tonic but branch out into different harmonies when their scales are harmonized.
Consider the key of C major and its parallel, C minor—both starting from the note C, yet offering a distinct set of chords when their respective scales are harmonized. For instance, the harmonized C major scale produces chords like C major, D minor, E minor, F major, G major, A minor, and B diminished. But when one turns to the C minor scale, the resulting chords include C minor, D diminished, E flat major, F minor, G minor, A flat major, and B flat major.
The act of borrowing involves integrating chords from the parallel minor key into a major key composition, or vice versa, thereby adding a layer of complexity and unexpected color to the progression. It is an act of musical alchemy that can turn a standard progression, such as C – Am – F – G, into something more nuanced and emotionally textured by substituting, say, the F major chord with an F minor from the C minor scale.
This technique not only introduces a new emotional dimension but also creates a bridge between the familiar and the novel. Take a simple progression in C major, and by interposing an E flat major chord, the listener is guided through a chromatic descent that lends a smooth transition and a touch of sophistication to the movement.
As songwriters and composers push the boundaries of harmony, they often employ more advanced techniques such as tritone substitutions and secondary dominants. These methods introduce further complexity, often found in jazz compositions, and maintain the harmonic function while adding a fresh perspective.
In essence, the mastery of chord borrowing and substitution opens up a vast landscape of harmonic possibilities. It allows for the crafting of progressions that can surprise and engage the listener, taking them on a journey that defies expectations. It’s a testament to the dynamism of music theory and its capacity to evolve, mirroring the very nature of creativity itself.
As the exploration of these concepts deepens, one begins to understand the intricate dance between chords. It is a dance that can define a genre, enhance a melody, and ultimately, capture the essence of an emotion in musical form. To truly harness the power of borrowed chords, one must first grasp the concept of diatonic chords. These chords are the building blocks of a key, each constructed from notes that belong strictly to the parent scale of that key. The key of C major serves as a prime example to illustrate these foundations. In this key, the seven diatonic chords can be represented by Roman numerals, reflecting their position in the scale: I, ii, iii, IV, V, vi, and vii°.
In the key of C major, these translate to the following chords: the I chord is C major, the ii chord is D minor, the iii chord is E minor, the IV chord is F major, the V chord is G major, the vi chord is A minor, and the vii° chord is B diminished. Each chord is an embodiment of the scale's tone, and together they form a harmonious sequence that resonates with the clarity and brightness typical of a major key.
These diatonic chords serve as the home base in music composition, grounding the melodies and establishing the tonal center. They provide a palette from which songwriters can draw familiar patterns, creating a sense of cohesion and balance within a piece. However, while there is an undeniable beauty in the purity of diatonic harmony, it is the venture beyond these seven chords that can imbue a composition with unique character and depth.
The desire for creative inspiration often leads composers to look outside the diatonic framework. By introducing non-diatonic elements, they can disrupt the predictable flow of the music, crafting moments that capture the listener's attention through surprise and emotional depth. Borrowing chords from a parallel key is one such way to achieve this, offering a departure from the expected without abandoning the piece's underlying tonal structure.
Understanding diatonic chords and their role within a key is a stepping stone to exploring the rich tapestry of harmonic possibilities that music theory provides. With this knowledge, one is better equipped to appreciate the interplay between borrowed chords and their diatonic counterparts, recognizing the deliberate choices that lead to compelling and dynamic songwriting. Moving on to the concept of borrowed chords, these are chords that originate from parallel keys—keys that share the same tonic or root note but differ in quality, being either major or minor. Borrowed chords introduce a sense of novelty and complexity within a progression that is primarily diatonic to the original key.
Focusing on the relationship between C major and C minor, both keys begin with the root note C, yet they yield very different sets of chords when harmonized. This juxtaposition is the crux of borrowing chords; it allows for the introduction of chords that are foreign to the original key yet still maintain a connection through their parallel root.
In the context of C major, borrowing chords like the iv, VI, and VII from C minor can transform a progression, infusing it with a sense of drama and shifting emotional weight. For instance, replacing the diatonic F major chord (IV) in C major with an F minor chord (iv) from C minor introduces a subtle melancholy, a slight tonal shift that can have a profound effect on the mood of the piece.
Similarly, utilizing the VI and VII chords from C minor—A flat major and B flat major, respectively—can add unexpected turns to a progression in C major, veering away from the expected diatonic path. The sudden introduction of these chords can surprise the listener, creating a harmonic landscape that feels both familiar and fresh.
The concept of borrowing chords enriches the harmonic vocabulary of a composer, offering a gateway to explore emotional nuance and complexity in their work. Through the strategic use of these chords, a simple C major progression can evolve, gaining depth and resonance that captivate and engage the audience. This technique underscores the transformative power of music theory when applied with intention and creativity, showcasing the endless possibilities for innovation within the art of songwriting. To ground the theory in practice, let's examine practical applications of borrowed chords within common progressions. By substituting a diatonic chord with a borrowed chord, the mood and direction of a piece are altered, weaving in a tapestry of emotional complexity that can heighten the listener's experience. Through real-world examples and a breakdown of the process, the transformative effect of borrowing chords becomes clear.
Consider a standard I – vi – IV – V progression in the key of C major, which translates to C – Am – F – G. This progression is comfortable and expected, a familiar sequence in the musical lexicon. However, the introduction of a borrowed chord can shift this familiarity into something more intriguing. For instance, by substituting the IV chord (F major) with a borrowed iv chord (F minor) from the parallel key of C minor, the progression becomes C – Am – Fm – G. This minor alteration creates a poignant contrast to the surrounding major chords, adding a twist that can evoke a more introspective or somber tone.
Another example involves the use of a borrowed VI chord. In the key of C major, a common progression might be C – G – Am – F. By borrowing the VI chord (A flat major) from C minor, the new progression reads C – G – Ab – F, introducing a bold and unexpected harmonic shift that can signal a dramatic change in the narrative or emotional landscape of the piece.
Step-by-step, these examples show that even a single borrowed chord can have a significant impact on the overall atmosphere of a song. The borrowed chord acts as a pivot, a momentary detour that enhances the musical journey. It's a subtle yet powerful tool in the songwriter's arsenal, one that requires both an understanding of music theory and an ear attuned to the emotional subtleties of harmony.
Through thoughtful application, borrowed chords breathe new life into standard progressions, offering a fresh perspective and a wealth of creative potential. They serve as proof that within the framework of music theory lies the opportunity for boundless creativity, where the blending of diatonic and non-diatonic elements can produce works of profound beauty and depth. Venturing beyond the basics into more advanced harmonic concepts, attention turns to tritone substitutions and secondary dominants. These techniques, staples in the rich tapestry of jazz compositions, offer additional layers of complexity and aural intrigue.
Tritone substitutions occur when a dominant seventh chord is replaced by another dominant seventh chord located a tritone away—the interval of three whole steps, or six half steps, from the original chord. This substitution works because the two chords share the same guide tones—namely, the third and the seventh of the chord, which are crucial in determining its harmonic function. The shared guide tones mean that despite the drastic change in root position, the essential character of the harmony remains intact.
For example, in the key of C major, the G7 chord can be replaced with a Db7. Both chords contain the notes B (Cb in the case of Db7) and F, the guide tones. The tritone substitution creates a chromatic bass line and introduces a surprising shift in tonality, yet it resolves smoothly into the tonic chord, thus maintaining the progression's harmonic function.
Secondary dominants are another form of advanced chord substitution. They are essentially dominant chords that resolve to chords other than the tonic. These chords are not diatonic to the original key but are instead borrowed from the key of the chord to which they resolve. The use of secondary dominants can momentarily tonicize a chord within the progression, creating a pull towards it as if it were the tonic, before resolving back into the original key center.
In practice, a secondary dominant can be used in a progression like ii – V – I in C major, where the A7 (a secondary dominant) might be inserted before the D minor chord (ii), creating a temporary tension and release cycle that resolves into D minor before continuing to the dominant (G7) and back to the tonic (C major).
These substitutions not only provide a more complex harmonic structure but also open up new pathways for melodic improvisation, giving composers and performers alike a richer palette to draw from. The effective use of tritone substitutions and secondary dominants in songwriting can transform a piece from conventional to captivating, imbuing it with a sense of sophistication and depth that elevates the music to new heights.
Through the lens of these advanced techniques, one can appreciate the intricate balance between tension and resolution, dissonance and consonance, which are the hallmarks of engaging and dynamic compositions. As with all aspects of music theory, the knowledge and application of these concepts can empower songwriters to push the boundaries of creativity, crafting songs that resonate with listeners on a deeper level.
Get your podcast on AnyTopic