Let's just have two quick examples of borrowed chords. For this case, I've actually changed into F major, as you can see here. And well, the example that I mentioned in the introduction, that was a couple of videos ago, but maybe you remember the idea that, well, if you have a one chord going to a four chord, it's a major. And what we have here is a pedal six four. Let me, sorry, I should have done this earlier. Let me throw in the roman numerals here. So we have our one, and then we have our four chord and it's major right? And it's a six four, so it's a four six pedal six four, back to one. Okay, well, that sounds nice. Let me listen to it quickly. [MUSIC] That's nice, but we could add some color to this. And it's very simple to add color to it. Well, why don't we do this instead? Let's have one here, but instead of major four, let's have minor, and then back to major. And to just change that, we need to change the third, right? So we have root, third and fifth, so [SOUND], we just switch that there. Let's listen to the two of them and compare them. [MUSIC] This is the kind of common substitution that you'll find, kind of very common and fairly subtle form of mode mixture. And you see what's happening. So before I talked about borrowing from the parallel mode, well, that sounds pretty fancy. Well, we're going to borrow from the parallel mode, so the mode here is major. And it's just that when we get to this fore chord, we're going to borrow from minor. And we're going to pretend that we're not an F major here but an F minor. And then, when we come here, we're going to pretend we're back in, well, not pretend, we are back in F major. You can also find this for instance, with let me do quickly sort of one five six progression, or let's say two. Well, we're in F, yeah, so we go [SOUND] two six [SOUND] five [SOUND] this. [SOUND] [SOUND] [SOUND] [MUSIC] So what do we have here in major? We've got, Two six going to five seven, going to six. And you play that. [MUSIC] And that's our deceptive progression, yeah? What might be kind of nice actually, is that there's actually a very different color going from doing this deceptive progression in major and doing it in minor. So let's do it now in minor. [MUSIC] And voice leading wise, none of these are a problem except this guy here. Again, it's augmented second. So you'd probably do something. [MUSIC] Well, actually this. [MUSIC] The smartest thing to do is this. And that solves the voice leading issues. And then we need to change whoops. We need to change that. And let's listen to the difference between these. [MUSIC] They're very different in quality. And this one would be is already a deceptive progression, right? So it's already a surprise. But this one would be very much a surprise inside of classical music. Because it's a major, the ear would expect a deceptive progression to sound like this. And it gets, really a big surprise, when it does a deceptive progression in minor. Let's switch over to, well, from minor to major. Well, we're already in F major, so let's just move to D minor, so I don't have to change the key signature. And let's say we have, again, a two. [SOUND] Six, [SOUND] five, and [SOUND] one. [SOUND] And what's supposed to happen here, [SOUND] is [SOUND] this. Sorry, I put in the roman numerals quickly, so that you can see those. So we're at two diminish six, Five seven and one. Let's hear this. [MUSIC] Okay, now we'll do what many of you may know, it's very famous in say, Baroque organ music. I think it's actually less commonly seen in the classical era, but it's such a great example of mode mixture that I want to show it to you. Now, we can actually, rather than going five to one in minor, you'll often see a piece end five to one, and where the one is major. And then, of course, to get this [SOUND] whoops, wrong note. [MUSIC] We do this. This is sometimes what's called [SOUND] a Picardy Third. And it's very characteristic, again, in certain Baroque works. And it's characteristic of the Baroque era, and particularly, at the end of a work, not so common to find a Picardy Third used in the middle of a work. It's more like the final cadence, which ends major rather than minor. So let me play both of these so you can hear the difference. [MUSIC] So there's some examples of borrowed chords. And I want to say that the examples that I gave you, are fairly characteristic examples. These are the kinds of things that you'll see used. So using them yourself makes a lot of sense. You can always borrow from the other mode. But the question is, there are so many chords that you can borrow, and so many combinations you can use, which are the ones that you really see? And the ones that I've shown you, are the ones that you'll see the most.
