The Modally Borrowed Chords

The chords borrowed from the parallel natural minor (III⁵, v, and VI ⁵) are used less frequently.

Typical Uses of modal borrowing

1. The predominant or subdominant chord in major is followed by its borrowed version from the parallel minor.

A la – le – so voice leading occurs in one of the voices. The reverse procedure (such as iv – IV) is avoided.

2. The borrowed chords replace their major key counterparts.

2a and 2b. iii = III⁵
2b and 2c.  IV = iv
2d and 2e.  ii⁷  = ii^ø7
2f.  vi = VI ⁵

If used at the end of a phrase, examples 2c and 2f are variants of the plagal cadence (see the chapter on  Cadences).

3. An extended (super) plagal cadence using modally borrowed chords.

4. The only reverse borrowing is the major triad with a raised 3^rd at the end of a minor composition, the Picardy Third.

5. v and VII are used in modal cadences (see the chapter on Modal Music).

6. Modally borrowed chords can be used to modulate to keys that are two or more sharps or flats apart, known as distant modulations. The modally borrowed iv, ii^o6 , III⁵, and the VI⁵ chords are used as pivot chords to modulate to keys three to five 5^ths down the circle of fifths. (See Practice 2 below.)