Parallel Minor Chords (2)

2. Terminology

As mentioned earlier, in LMT, chords borrowed from parallel minor keys are simply called “Parallel Minor Chords”. Now I will explain the terminology used for this technique in orthodox music theories.

• Borrowed Chord
  A casually used term. However, some also use it to refer to chords borrowed from other keys “in general”, and in that case, other chords like “secondary dominants” introduced earlier may also fall under this term.
• Modal Interchange
  A basic term in jazz theory. However, this term refers to the act of “switching to a different scale” in a broader sense than what we examined here, it’s a more inclusive term.
• Mode Mixture
  A basic term in classical theory. However, similar to the previous term, it is also used to refer to borrowing that is somewhat broader than just parallel minor keys.

Each of these terms comes with “However“, which is why I coined the term Parallel Minor Chords.

Parallel Minor Chords

Chords borrowed temporarily from parallel minor scales (= the scales that have the same tonal center as the original major scale but with flats on any or all of mi/la/ti).

Casually, you can call them “modal interchange” or “mode mixture” as they encompass parallel minor chords as part of them. But there will be times when you want to specifically refer to the flat-type chords introduced here, so having this terminology comes in handy on such occasions.

Which Key Do They Come From?

By the way, chords like VII or V_m are equal to B and G_m in the C major key, respectively. These chords aren’t exclusive to the C minor key; they are also, for example, the prime chords of the F major key.

Prime chords in F major key

So, in this article, I introduced them as “borrowed from the C minor key.” However, when you encounter these chords in practice, note that in some cases, interpreting them as “borrowed from the F major key” might be more appropriate.

F_Δ7E₇A_m7C₇

In this example, C7 contains ti♭. However, this C7, which is the “underdog” against F, originates from the F major key and is a technique called the “secondary dominant”. Therefore, this is not what is called a parallel minor chord, nor modal interchange.

On the other hand, there could actually be a I₇ chord that can be judged as a parallel minor chord, depending on situations.

Analyzing the precise meaning of such chords can be quite intricate, and this phenomenon, where “chords that look the same can have different origins”, is one of the fascinating aspects of music, and all the more for this, music analysis is enjoyable.

Now, obtaining chords with new roots like ^♭III, ^♭VI, and ^♭VII can be considered the biggest achievement in Chapter II. This significantly broadens the scope of chord progressions, doesn’t it?

In the next Chapter III, we’ll be dealing with some unusual chords like “aug” and “dim,” which are more like “special tools.” Their significance tends to decrease in straightforward rock or dance music, but they become quite handy knowledge in genres like R&B, funk or future bass that seek colorful sounds. I hope you’ll progress while determining the necessity and timing of learning for yourself.

Summary

• In LMT, we call the group of chords borrowed from a scale with flats on either mi/la/ti as “Parallel Minor Chords”.
• Based on this concept, there are six usable chords: I_m, III, IV_m, V_m, VI, VII, with IV_m and VII being particularly useful.
• III, VI, and VII can be utilized to give a rock-like taste.

Chord Chapter II is now completed! Congratulations. Please think about which chapter to proceed to next, or consider setting some time aside for production or analysis.

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