Stack Exchange Network . e.g. Check that blog here if you need a review on modal interchange chords: Modal Interchange Chords in Major Keys. Or is it being used as a sub for another chord? Major and minor compositions can have long series of chords, but modal progressions usually just have one or two. I was reading a theory book and it's talking about "Modal Interchange." J¥2¸ÏÓ4ÿ‘d$m4Àøi*…£óù=8Õº„² Because the tonic pitch remains the same with modal interchange, it isn’t considered a key change. Major and minor compositions can have long series of chords, but modal progressions usually just have one or two. Combine these two and we have a II-V progression borrowed from the Aeolian mode. For example, the A major scale and the A minor scale are parallel. IVm7 (or IVm6) can also be substituted for V7. Typically the bIImaj7 (Dbmaj7) chord always precedes the I (C, Cmaj7) chord. Listen to the chords from 3:29 to 3:46 for a great example of modal interchange. Anyway. One of the reasons why modal interchange works, is that all modal interchange chords have the same “key center”, because they are all borrowed from parallel scales. C major, A minor, D Dorian, E Phrygian, etc…. In the previous lesson on Secondary Dominants I distinguished between: 1. This is huge step forward in your songwriting. Learn and memorize the chord progression examples. This week I wanted to talk about the scales of choice for improvisation over modal interchange chords. By Desi Serna . By Desi Serna . ÔÿÂÍcªÊ“ÚI]¸¶Ö��x#á�Ô\i$�ç/{ B/Ÿµñx%Ğu�İf4'7ÒU—ğÅ~×ÿH’É#ŧ‰x–‡#@X²ñQ³ü�”œéOTBn§„^AXÌ?4�ktDmÁÀZ9«c¿|R…úG ËuXÁu˜dO0Ÿ~ÁÚ£Éäh:rãÈP`åúNÀ½^!çï(ЈÕ×j¯¾L6 CÚçu mس2×4¿ Does the E7#9 resolve down a half step too Eb7? Not only did I go from complete beginner to advanced level in 2 years, Vreny also helped me compose the songs in my head, now up for Grammy consideration. Why? Meanwhile: give this blog a rating and give me your feedback in the comments section below. ||: Cmaj7 | G7 | Abmaj7 | Bb7 :||, ||: Cmaj7 | Fmaj7 | Ab7 | Bb7 :|| How are they . This is an example of mode mixture. All Rights Reserved, Improvisation over Modal Interchange Chords, Chords | - Part 3 Los Angeles Guitar Lessons by Vreny Van Elslande, Music Theory | Los Angeles Guitar Lessons by Vreny Van Elslande, Let’s Get Funky: Improve Your Rhythm Playing, Become A FunkMeister. The IV-7 chord is typically preceded by the diatonic Fmaj7 chord, but can also be used freely in the progression, as in following examples: ||: Cmaj7 | Dm7 | Em7 | Fm7 :|| The listed Modal Interchange examples are given in the key of C major. This is different from relative scales, which are scales that share the same notes. ||: Cmaj7 | Ebmaj7 | Dm7 | Dbmaj7 :|| Through experimentation you will discover which chord combinations sound good and which don’t work. Generally, modal chord progressions don't wander around too much. I understand why it works in terms of voice leading, but it baffles me! The principle is the same: you use chords from an A major scale (or from any A scale) in your A minor song. Scales that all start on the same note are all in the same key: Because all modal interchange chords are related to the same key, there is a connectedness between the chords. This could lead to an unwanted modulation or create an ambiguous key center. That connectedness is created by nature that each chord is borrowed from a scale that starts on the same root. Why? This allows you to add new harmonic colors in addition to the 7 chords of the key you are writing in. Modal interchange refers to the use of “borrowed” chords. C Dorian, C Phrygian, C Lydian, C Mixolydian, C Aeolian, C harmonic minor, C melodic minor, etc…. In the introductory section, we identified seven modes.Each mode was built on a degree/note of its parent scale (the major scale in this case). That isn’t to say that you can’t experiment or use the listed modal interchange chords more freely. ||: Cmaj7 | Dm7 | Ebmaj7 | G7 :||, ||: Cmaj7 | G7 | Fmaj7 | Abmaj7 :|| The listed Modal Interchange examples are given in the key of C major. What this means is that you’re for example writing a song in the key of C major, and you are using chords from a C minor scale (or any other C scale) in your C major song. ||: Cmaj7 | Ebmaj7 | Ab7 | Cmaj7 :||, In following examples the Ab7 does not sound like a modal interchange chord but like a subV7/V (resolving down a half step to G7), ||: Cmaj7 | Ab7 | G7 | Cmaj7 :|| ||: Cmaj7 | Fmaj7 | F#-7b5 | | G7: ||. A parallel scale is any scale that starts on the same pitch. Because the root of the mode must be constantly reinforced as the tonic. The Theory Behind Modal Chord Progressions. You can also use modal interchange in minor keys. Also borrowed from the Aeolian mode (Cm7, Dø7, Ebma7, Fm7, Gm7, Abma7, Bb7, Cm7) ex 7b: IVm7 modal interchange using the Aeolian mode. For example, the A major scale and the A minor scale are parallel. But that’s not all there is to it. Modal interchange doesn’t deal with relative, but with parallel scales. I hear the use of bVI chord in a major key quite similar to a V/V chord (It might just be me). It would then have to be called Fb7#9. 2nd mode Dorian was built on the 2nd degree of the major scale. ||: Cmaj7 | Fm7 | Cmaj7 | G7 :||, ||: Cmaj7 | G7 | Gm7 | Fmaj7 | Fm7 | Em7 | Am7 | G7 | Cmaj7 :||. Be on the look out for more blogs about everything guitar, music, songwriting and music education. If using two or more modal interchange chords in row, be careful not to create a cadence to the I chord of the relative Ionian. Active 11 months ago. Viewed 365 times 2. In Modal Harmony Workshop we look at how modal chord progressions are constructed, and learn a ... And indeed, in some cases it’s ok to interchange the two terms, and you will be able to communicate what you mean using any of the two. Modal interchange chords should be preceded- and followed by diatonic chords. It’s in Cminor, he is starting on an Abmaj7 for two bars then an E7#9. ÆÅ×ù{®0Ğâpß�±T:>“Ş-zˆû~›~!›FÃğyñç•vc(o«„!jÇja,•~"‘fgWo+‡ÁXŒ%ØX&½1�Ƹ¸:­ç¨ã¥0Ü�±¾X zDp_0®ƒÄOc‘†šp˜ç¼¨^5Ò÷›ş®GÄ—m´Ê7If |±¹‘dywÆ—9©Ûè÷��¹úWç@ü:fºI/¹­'½4Nûxî›îÑÁx-sj!�s¯–e±p¦ÕΡVxàÿ4ïÂÑ"¶§$óBÁ&_…)$Y¥Šxf Hit me up in the comments section below if you have any questions I can help you with. A parallel scale is any scale that starts on the same pitch. The key is in C Major and I can't understand how BbM7 went to CM7. Isn't BbM7 a secondary triad Sub Dominant? Use modal interchange chords to add color to your harmonies. Modal Interchange = Changing key (using chords from a different key) for a short period of time while retaining the same ‘tonal centre’ (root note) What ‘a … Is using a secondary dominant in a chord progression similar to using modal interchange? Knowledge on paper is not power because you will always need the paper as a crutch. I would have to see the chord progression. SEE ALSO: Improvisation over Modal Interchange Chords. Because the tonic pitch remains the same with modal interchange, it isn’t considered a key change. This is not just a random bunch of different chords thrown together. Improvisation over Modal Interchange chords. “Modal Interchange” is a harmonic technique in which you borrow chords from parallel scales. Improvisation over Modal Interchange chords, © 2020 ZOT Zin Guitar Lessons. Learn and memorize the chord progression examples. Modal Interchange: Borrowing Weird Chords. Consider the following scenario: our song is in C major, and contains the chords I, vi, IV, V or C, A min, F, G.At some point, the F chord becomes an F min chord, borrowed from the parallel C minor.