8/18/2019 Borrowing Chords from parralell modes with Tom Quayle.docx

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Borrowing Chords from parallel modes

Written by Bill Richardson, the author of Melodic Fusion Guitar.

 Base on Lick Library By Tom Quayle.

All those borrowed chord came from same root note.

Example: Let's say Lydian. We can borrow chord from C Lydian, if we going to use hrygian we

going to borrow chord from C hrygian so on so for. Let's ta!e " chord from the #ey of C $use

cadence for hrasing%.

&ay it was: CM7 - - - FM7

 ow there is no more () chord in the !ey of C then We going to borrow it from another scale

with same mode say hrygian. C hrygian is parallel to C (a*or &cale because it has same root

in C but C hrygian came from Ab (a*or &cale. +hen identify some () chord from Ab (a*or 

&cale there are Ab() and b() chord that has the () chord -uality. f we use Ab() it called

chromatic substitution. Let's we *ust use b(), then we ha/e

CM7 - FM7 - - DbM7

Let's we ta!e a loo! at C orian scale which is mode " of 0b (a*or. +hen we ha/e 0b() and

Eb(). Let1s use Eb() then we ha/e

CM7 - FM7 - EbM7 - DbM7

&ince We us parallel minor modal with C hrygian and C orian, we now can use minor scale

such as minor pentatonic or etc. 2or these two borrowed chord from parallel minor mode.

Example, use A minor pentatonic mode which is relati/e minor of C (a*or for these " first

chords for the next " chord let1s *ust use C minor pentatonic because its came from parallel

minor mode.

8/18/2019 Borrowing Chords from parralell modes with Tom Quayle.docx

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8/18/2019 Borrowing Chords from parralell modes with Tom Quayle.docx

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Comparing both we ha/e,

# o! for instant, use these "oice leadin $% and &' note for e"ery chords.