Parallel Minor Chords (1)

1. Borrowing Chords

This time I introduce a technique of borrowing chords from parallel keys. You may remember the term “parallel key” from last time. “Parallel key” refers to keys where the tonic (tonal center) is the same, but only the major/minor mode differs.

In this session we’ll start with the major key environment, and think about borrowing chords from the parallel “minor” key. So, in the context of C major, we’ll borrow from C minor. In other words, it’s about using chords with flats on mi, la, and ti.

The Parralel Minor Chords

When borrowed from the parallel minor key, these new chords can be labeled as follows when analyzed in Roman numeral degrees.

For III, VI, and VII, the root itself having flat, flats are added to the degree names. In LMT, they are termed Parallel Minor Chords, as they are borrowed from the parallel minor key.

Postponing the II Chord

However, as for the II chord, it has a special symbol (♭5) attached……This means that the chord is structurally different either from a major chord or a minor. So we won’t deal with it at this stage.

These advanced chords will be covered in Chapter III, so no need to worry. They are somewhat less important and less frequent compared to the others, so we can leave them for later.

Always Flats in Degree Names

In keys other than C major, there may be no flats added to the chord names depending on ♯/♭ conditions. Nonetheless, they are still referred to as ^♭III, ^♭VI, and ^♭VII.

In this case, G, C, and D are very simple in their chord names, but still have flats in their degree names because they’re actually “flattened” compared to the ordinary E major key environment.

This can be a bit confusing, so be cautious.

Members of the Quality Change!

Well, I_mIV_mV_m were already introduced in the quality change section. So, the remaining three are the newcomers featured in this article.

2. Review and Supplement of Minor Chords

That being said, let’s start by reviewing the three chords we’ve already introduced, with some extra tips added.

IVm: Strong Melancholy

IIV_mIIV_mI

IV_m is called Subdominant Minor. It has a unique melancholic feel and is highly valued in ballads and similar genres. The audio above progresses to I, but it’s also common to progress to V and III_m.

II_mIII_mIV_mV

This is a common progression used in the bridge of songs. IV_m can work as a good preparation for V, adding a touch of melancholy. It’s undoubtedly more poignant than a simple IVV progression.

IVIV_mIII_mVI_m

This is a classic variation of the 4-5-3-6 progression. Instead of the dominant V, the subdominant minor chord is chosen.

IVm progressing to chords other than IIII_mV is relatively rare. Unlike prime chords, these non-prime chords have strong characters, making it challenging to use them freely.

Vm: Surprise of Dark/Light Exchange

The more peculiar V_m is called Dominant Minor. It has more limited use. In Chapter I, An example is shown in the context of progressions to IV.

VI_mV_mIVIV_m

There are various other ways to use it.

VI_m7III_m7V_m7II_m7

Here, we have a sequence of minor chords. The addition of an out-of-key chord makes the atmosphere more complex. In the key of C, V_m7 corresponds Gm, but Gm is also a prime chord in F or B^♭ key. So in this case it becomes somewhat unclear which key we’re in while listening. However, this ambiguity is not a bad thing, rather intriguing.

Im : The Total Reversal

I_m is called Tonic Minor. It represents a dramatic change from the bright to the dark side, making it a very impressive expression, albeit with limited use cases. That’s why in the previous chapter on “Quality Change,” we refrained from introducing it with audio examples. This time, let’s dive into it!

One way to use it is to switch from the I chord phrase we introduced earlier to I_m, creating a transition from brightness to darkness.

IV₇I_mV₇

This is Chopin’s “Étude Op. 10, No. 3”. It starts with the AE₇ phrase and then changes to AmE₇. Simultaneously, the tempo gets slow and dynamics are restrained, creating a moment where you distinctly feel, “Oh… something is happening here!” It’s a perfect example of how to utilize the tonic minor.

Additionally, it can be used as a surprising effect in minor key compositions.

VI_mVVI_mI

This section is still unfinished. The last I chord sounds a bit too bright and somehow out of place. So, I decided to boldly change the ending to a minor chord.

VI_mVVI_mI_m

It adds a slightly dark and edgy vibe. As with the V_m we discussed earlier, in loop-based electronic music, there are chord progressions like “just continuously play minor chords.” In such contexts, using I_m becomes somewhat easier. However, it’s still undeniable that I_m requires more creativity in its usage compared to chords like IV_m.