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 Phrygian we

going to borrow chord from C Phrygian so on so for. Let's take 2 chord from the Key of C (use

cadence for Phrasing).

Say it was: CM7 - - - FM7

Now there is no more M7 chord in the key of C then We going to borrow it from another scale

with same mode say Phrygian. C Phrygian is parallel to C Major Scale because it has same root in

C but C Phrygian came from Ab Major Scale. Then identify some M7 chord from Ab Major Scale

there are AbM7 and DbM7 chord that has the M7 chord quality. If we use AbM7 it called

chromatic substitution. Let's we just use DbM7, then we have

CM7 - FM7 - - DbM7

Let's we take a look at C Dorian scale which is mode 2 of Bb Major. Then we have BbM7 and

EbM7. Let’s use EbM7 then we have

CM7 - FM7 - EbM7 - DbM7

Since We us parallel minor modal with C Phrygian and C Dorian, we now can use minor scale

such as minor pentatonic or etc. For these two borrowed chord from parallel minor mode. Example,

use A minor pentatonic mode which is relative minor of C Major for these 2 first chords for the

next 2 chord let’s just use C minor pentatonic because its came from parallel minor mode.

Comparing both we have,

# Now for instant, use these voice leading (3 and 7) note for every chords.