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Borrowed Chords

Borrowed Chords. Volume II Chapter 4. Borrowed Chords. Chords that are borrowed from the parallel minor key Adds color and variety ii° ii ø ⁷ iv b VI vii°⁷ Progression the same as diatonic except b VI progresses to V or V⁷. Picardy 3rd.

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Borrowed Chords

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  1. Borrowed Chords Volume II Chapter 4

  2. Borrowed Chords • Chords that are borrowed from the parallel minor key • Adds color and variety • ii° • iiø⁷ • iv • bVI • vii°⁷ • Progression the same as diatonic • except bVI progresses to V or V⁷

  3. Picardy 3rd • Minor piece that finishes with a borrowed major I • Originated during the Renaissance period

  4. Doubling and Voice-Leading • ii°⁶ • Double the bass • Move 3 upper voices in contrary motion to bass when followed by V or V⁷ • iiø⁶₅ • Move 3 upper voices in contrary motion to bass when followed by V or V⁷ • iv • Double the bass • Move 3 upper voices in contrary motion to bass when followed by V or V⁷ • iVI • Double the 1st scale degree of the key • vii°⁷ • Bass moves up to tonic and 3 upper voices move in contrary motion • Picardy 3rd • Double the root

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