Parallel Minor Chords (2)

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In the previous article, you’ve seen the basic patterns of borrowing parallel minor key chords.

Now, let’s delve into some finer details.

1. The Choices of Mi, La, and Ti

I explained like parallel minor chords involve 3 flats on mi, la and ti, but in reality, it’s also possible to use “subtype’versions where only some of mi/la/ti are flattened.

For example, when using IV_m, it’s not just la that’s relevant. On playing melodies, choices arise regarding how to handle ti and mi. Or the same applies when adding embellishments with “seventh chords” or “tension chords”.

So, keep the following three points in mind:

No matter how you add flats to mi/la/ti there is a corresponding “theoretical interpretation”, so feel free to do it the way you like..
Decisions should be based on what you want to express. The mood, the sounds, the melody line you want to create, etc.
When performing with others in a band or whatever, it’s advisable to build a consensus on which of mi/la/ti will be flattened.

There are 7 possible patterns with mi/la/ti flats, so even within 6 prime chords, you have 42 patterns of expression. Though you’ll gradually learn them through practical experience, I’m gonna add some notes here.

(Additionally, in the melody editing section in Chapter IV, we’ll also explore how the melody line changes based on how flats are added.)

Chord Name Changes

One thing to note is when you use seventh chords. I, IV, and ^♭VII can have their chord names changed depending on whether you add a flat or not. So when sharing chord charts for your own songs with others, be sure to pay attention to this.

You often encounter IV_mΔ7 because it involves only 1 flat. Say you use this chord but accidentally think, “I turned IVm into a seventh chord, so it’s IVm7!” then miscommunication will happen. So be careful about this.

Example Case (1)

As I mentioned above, the choice of adding flats depends on what you wanna express. Let’s take some real examples to get deeper into this point.

II_m7III_m7IV_m7V

Here is an example of using IV_m that I introduced last time, but this time I have written the chord names properly. This is IV_m7, meaning “adding a flat to mi.” And though it doesn’t affect the chord name, ti is also flattened here, making it an “all-flat” state.

There are two reasons for making this all-flat. First and foremost, I want to make it heartbreakingly dramatic to progress to V. To achieve this, a strong contrast from the original key is preferred.

The second reason is voice leading (the connection of chord tones). Adding a flat to mi creates a smooth semitone relationship with V that follows.

There are three semitone movements here! This is a pretty smooth connection. Considering this, I concluded that an all-flat state is the best choice here.

Example Case (2)

On the contrary, there are cases where it should be kept as natural as possible.

IV_Δ7IV_mΔ7III_m7VI_m7

This is an example with a “subtle” flavor, with only la flattened, forming the chord IV_mΔ7.

There are two reasons for this. First, the melody. By keeping mi natural, the strings can play a melody that is totally within the original key, mi–fa–so–fa–mi–re, which is familiar to ears and easy to sing.

The other reason is that all the other chords contain mi in their chord tones. Rather than flattening IVm alone, it would be better to keep the common tone throughout the flow.

In this case the sense of modulation is kept to a minimum, and the use of parallel minor chords serves as a subtle effect that is almost indistinguishable from a natural tonality (to ordinary listeners).

In popular music, I think the top priority is still the melody, so first, choose flats based on the melody line you want to create. Then, make decisions about minor aspects, such as the connection with the preceding/following chords, the musical context, and the degree of modulation (strength of contrast).

How to Find Chords

When you actually use parallel minor chords in a song, you need to specify the chords you can borrow. In such cases, you can find them all at once using the circle of fifths.

As I mentioned earlier, in the circle of fifths, all the prime chords of a certain key are grouped together. The chords of the parallel minor key are gathered 90° counterclockwise from the original key.