259 lines
16 KiB
Plaintext
259 lines
16 KiB
Plaintext
TITLE: Borrowed Chords and Modal Interchange
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DOMAIN: Music Theory
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CONCEPTS: modal interchange, borrowed chords, parallel modes,
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modal mixture, diatonic harmony, reharmonization, backdoor progression,
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IVm, bVI, bVII, Lydian, Ionian, Mixolydian, Dorian, Aeolian,
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Phrygian, Locrian, songwriting, jazz harmony, rock harmony
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SOURCE: Music Theory Instructional
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TOPIC: Modal interchange theory, borrowed chord usage, and parallel
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mode reference for all twelve keys
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---
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Chunk 1: What is Modal Interchange
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Metadata: type=definition, concept=modalInterchange,
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concept=borrowedChords, concept=parallelMode, concept=harmonicColor
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Modal interchange <20> also called borrowed chords, modal mixture, or mixed
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modes <20> is a compositional device in which composers add unexpected
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harmonic colors by borrowing chords from a parallel mode. The most common
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application is the appearance of chords from the parallel minor in the
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context of a major key. Because C Ionian and C Aeolian share the same
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tonic, their sonorities can be interchanged quite naturally <20> a composer
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can use chords from C minor in the context of C major without preparation
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or awkwardness. More advanced examples draw on other parallel modes beyond
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just the natural minor. The result is a significantly expanded harmonic
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palette that moves well beyond the familiar and limited sound of purely
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diatonic chords.
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Chunk 2: Commonly Used Borrowed Chords
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Metadata: type=theory, concept=borrowedChords, concept=modalInterchange,
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key=Cmajor, chords=IVm/bVI/bVII/bIII/Vm/halfDiminishedII/diminishedVII,
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concept=parallelMinor
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The most frequently used borrowed chords in a major key come from the
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parallel natural minor or Aeolian mode. In C major these are the minor
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IV chord (F minor), the major bVI chord (Ab major), and the major bVII
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chord (Bb major). Additional borrowed chords available in C major include
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the minor I chord (Cm), the major bIII chord (Eb), the minor V chord (Gm),
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the half-diminished II chord (D<>7), and the fully diminished VII chord
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(B<>7). In practice, several borrowed chords from the parallel minor
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function exactly like their diatonic counterparts <20> IV can be replaced
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with IVm, IIm7 with II<49>7, V with Vm, VIm with bVI, and VII<49>7 with VII<49>7
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without any other adaptation or preparation, creating striking new colors
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within otherwise familiar progressions.
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Chunk 3: Modal Interchange in Classic Rock <20> Blood Sweat and Tears
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Metadata: type=example, concept=modalInterchange, genre=classicRock,
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artist=BloodSweatAndTears, song=SpinningWheel, year=1970,
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progression=I/bVII/bVI/V, key=Cmajor, concept=stepwiseDescent
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Blood Sweat and Tears formed in New York City in 1967 with the goal of
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combining jazz sophistication with rock energy. Their self-titled second
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album featuring the hit single Spinning Wheel won the Grammy Award for
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Album of the Year. The excerpt in C major features a stepwise descent
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from tonic to dominant through borrowed chords from the parallel minor <20>
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moving I to bVII to bVI to V. This descending progression through bVII
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and bVI borrowed from C Aeolian creates a cinematic, dramatic momentum
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that diatonic harmony alone cannot achieve, with each chord pulling
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downward toward the dominant resolution.
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Chunk 4: Modal Interchange in Jazz <20> Days of Wine and Roses
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Metadata: type=example, concept=modalInterchange, genre=jazz,
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artist=HenryMancini/RayBrownTrio/GeneHarris,
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song=DaysOfWineAndRoses, year=1962, key=Fmajor,
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chords=IVm6/bVII7, concept=tritoneSubstitution, concept=backdoorProgression
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The Days of Wine and Roses written by Henry Mancini with lyrics by
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Johnny Mercer appeared in the 1962 film of the same title, earning an
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Academy Award for Best Original Song and Grammy Awards for Record of the
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Year and Song of the Year. The Ray Brown Trio recording in F major
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contains borrowed chords IVm6 and bVII7 in measures seven and eight
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drawn from the parallel minor. The Eb7(#11) in measure two may appear
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to be a borrowed chord but is better understood as a tritone substitution
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resolving to D7 in measure four. The movement from IVm7 to bVII9 to I
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is a common jazz progression known as the backdoor ii-V or simply the
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backdoor progression <20> a particularly smooth and sophisticated application
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of modal interchange that resolves to the tonic from an unexpected
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harmonic direction.
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Chunk 5: Modal Interchange in Soul <20> Never Can Say Goodbye
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Metadata: type=example, concept=modalInterchange, genre=soul/RandB,
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artist=Jackson5/MichaelJackson, song=NeverCanSayGoodbye, year=1970,
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key=Dmajor, modes=DDorian/DLydian/DPhrygian/DIonian,
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concept=advancedModalInterchange
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The Jackson 5 recorded Never Can Say Goodbye in 1970 with lead vocals
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by an eleven-year-old Michael Jackson. Written by Clifton Davis, the
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song reached number two on the Billboard Hot 100 and number one on the
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Billboard R&B Charts. The excerpt in D major represents a more advanced
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application of modal interchange <20> drawing on chords from D Dorian,
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D Lydian, and D Phrygian before resolving back to D Ionian. This
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movement across three parallel modes within a single progression
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demonstrates that modal interchange is not limited to borrowing from
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the parallel minor alone but can draw on the full spectrum of parallel
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modes for harmonic color.
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Chunk 6: How to Use Borrowed Chords <20> Practical Application
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Metadata: type=application, concept=modalInterchange, concept=borrowedChords,
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concept=melodyCompatibility, concept=reharmonization, concept=sidestepping,
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concept=parallelChords, level=beginner/intermediate
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For beginners approaching modal interchange, the simplest entry point
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is identifying which melody notes have the greatest compatibility with
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borrowed chords. In C major, the note C appears naturally in all
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parallel modes, providing the greatest number of borrowed chord options
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when C is the melody note. The notes F and G are also common to most
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parallel modes of C, making them strong candidates for reharmonization
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with borrowed chords. By contrast, the note B is only found in C Lydian
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and C Ionian, severely limiting borrowed chord options when B is the
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melody note. A useful technique is sidestepping or parallel chords <20>
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where a borrowed chord resolves with each voice moving down a half step
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in parallel chromatic motion, as when Ab/Gb precedes G/F with all notes
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descending a half step. The backdoor progression <20> IVm7 to bVII9 to I
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<EFBFBD> is a particularly common and smooth jazz application of modal
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interchange drawn from the parallel Aeolian mode.
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Chunk 7: Modal Interchange Applications Beyond Songwriting
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Metadata: type=application, concept=modalInterchange, genre=jazz/coverBand,
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concept=earTraining, concept=reharmonization, concept=jazzStandards,
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concept=learningByEar
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Modal interchange is valuable beyond songwriting and composition. For
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gigging musicians in cover bands, familiarity with the sound of common
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borrowed chords enables faster learning of songs by ear <20> recognizing
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that an unexpected chord is a borrowed bVI or bVII rather than a
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modulation resolves harmonic confusion immediately. Jazz musicians use
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modal interchange alongside other reharmonization techniques to
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personalize their repertoire of jazz standards, replacing diatonic
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chords with borrowed alternatives to create fresh harmonic colors within
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familiar melodic contexts. The skill of hearing modal interchange in
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real music <20> rather than only understanding it theoretically <20> develops
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through deliberate listening to the examples above and actively
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identifying borrowed chords in recordings.
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Chunk 8: Modal Interchange Summary
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Metadata: type=summary, concept=modalInterchange, concept=borrowedChords,
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concept=parallelMode, concept=harmonicPalette, concept=backdoorProgression,
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chords=IVm/bVI/bVII/bIII, genres=rock/jazz/soul
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Modal interchange is the practice of borrowing chords from parallel
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modes to expand harmonic color beyond diatonic limitations. The most
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common borrowed chords in major keys are IVm, bVI, and bVII from the
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parallel natural minor, which can replace their diatonic counterparts
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without preparation. More advanced applications draw on Dorian, Lydian,
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Phrygian, and Locrian parallel modes for additional colors. The backdoor
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progression <20> IVm7 to bVII9 to I <20> is a particularly smooth jazz
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application. Modal interchange appears across genres from classic rock
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(Blood Sweat and Tears), jazz (Days of Wine and Roses), and soul (Never
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Can Say Goodbye), demonstrating its universal harmonic value. For
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songwriters it expands the chord palette significantly; for performers
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it accelerates learning by ear; for jazz musicians it enables
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personalized reharmonization of standards.
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Chunk — Key of C
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C Lydian Parallel Mode of C (Brightest): C, D, E, F#, G, A, B (Major with a sharp 4th)
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C Ionian Parallel Mode of C (Major): C, D, E, F, G, A, B (Natural Major)
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C Mixolydian Parallel Mode of C: C, D, E, F, G, A, Bb (Major with a flat 7th)
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C Dorian Parallel Mode of C: C, D, Eb, F, G, A, Bb (Minor with a sharp 6th)
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C Aeolian Parallel Mode of C (Minor): C, D, Eb, F, G, Ab, Bb (Natural Minor)
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C Phrygian Parallel Mode of C: C, Db, Eb, F, G, Ab, Bb (Minor with a flat 2nd)
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C Locrian Parallel Mode of C (Darkest): C, Db, Eb, F, Gb, Ab, Bb (Minor with a flat 2nd and 5th)
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Chunk — Key of C#
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C# Lydian Parallel Mode of C# (Brightest): C#, D#, E#, F##, G#, A#, B# (Major with a sharp 4th)
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C# Ionian Parallel Mode of C# (Major): C#, D#, E#, F#, G#, A#, B# (Natural Major)
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C# Mixolydian Parallel Mode of C#: C#, D#, E#, F#, G#, A#, B (Major with a flat 7th)
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C# Dorian Parallel Mode of C#: C#, D#, E, F#, G#, A#, B (Minor with a sharp 6th)
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C# Aeolian Parallel Mode of C# (Minor): C#, D#, E, F#, G#, A, B (Natural Minor)
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C# Phrygian Parallel Mode of C#: C#, D, E, F#, G#, A, B (Minor with a flat 2nd)
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C# Locrian Parallel Mode of C# (Darkest): C#, D, E, F#, G, A, B (Minor with a flat 2nd and 5th)
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Chunk — Key of D
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D Lydian Parallel Mode of D (Brightest): D, E, F#, G#, A, B, C# (Major with a sharp 4th)
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D Ionian Parallel Mode of D (Major): D, E, F#, G, A, B, C# (Natural Major)
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D Mixolydian Parallel Mode of D: D, E, F#, G, A, B, C (Major with a flat 7th)
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D Dorian Parallel Mode of D: D, E, F, G, A, B, C (Minor with a sharp 6th)
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D Aeolian Parallel Mode of D (Minor): D, E, F, G, A, Bb, C (Natural Minor)
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D Phrygian Parallel Mode of D: D, Eb, F, G, A, Bb, C (Minor with a flat 2nd)
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D Locrian Parallel Mode of D (Darkest): D, Eb, F, G, Ab, Bb, C (Minor with a flat 2nd and 5th)
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Chunk — Key of Eb
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Eb Lydian Parallel Mode of Eb (Brightest): Eb, F, G, A, Bb, C, D (Major with a sharp 4th)
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Eb Ionian Parallel Mode of Eb (Major): Eb, F, G, Ab, Bb, C, D (Natural Major)
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Eb Mixolydian Parallel Mode of Eb: Eb, F, G, Ab, Bb, C, Db (Major with a flat 7th)
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Eb Dorian Parallel Mode of Eb: Eb, F, Gb, Ab, Bb, C, Db (Minor with a sharp 6th)
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Eb Aeolian Parallel Mode of Eb (Minor): Eb, F, Gb, Ab, Bb, Cb, Db (Natural Minor)
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Eb Phrygian Parallel Mode of Eb: Eb, Fb, Gb, Ab, Bb, Cb, Db (Minor with a flat 2nd)
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Eb Locrian Parallel Mode of Eb (Darkest): Eb, Fb, Gb, Ab, Bbb, Cb, Db (Minor with a flat 2nd and 5th)
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Chunk — Key of E
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E Lydian Parallel Mode of E (Brightest): E, F#, G#, A#, B, C#, D# (Major with a sharp 4th)
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E Ionian Parallel Mode of E (Major): E, F#, G#, A, B, C#, D# (Natural Major)
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E Mixolydian Parallel Mode of E: E, F#, G#, A, B, C#, D (Major with a flat 7th)
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E Dorian Parallel Mode of E: E, F#, G, A, B, C#, D (Minor with a sharp 6th)
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E Aeolian Parallel Mode of E (Minor): E, F#, G, A, B, C, D (Natural Minor)
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E Phrygian Parallel Mode of E: E, F, G, A, B, C, D (Minor with a flat 2nd)
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E Locrian Parallel Mode of E (Darkest): E, F, G, A, Bb, C, D (Minor with a flat 2nd and 5th)
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Chunk — Key of F
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F Lydian Parallel Mode of F (Brightest): F, G, A, B, C, D, E (Major with a sharp 4th)
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F Ionian Parallel Mode of F (Major): F, G, A, Bb, C, D, E (Natural Major)
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F Mixolydian Parallel Mode of F: F, G, A, Bb, C, D, Eb (Major with a flat 7th)
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F Dorian Parallel Mode of F: F, G, Ab, Bb, C, D, Eb (Minor with a sharp 6th)
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F Aeolian Parallel Mode of F (Minor): F, G, Ab, Bb, C, Db, Eb (Natural Minor)
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F Phrygian Parallel Mode of F: F, Gb, Ab, Bb, C, Db, Eb (Minor with a flat 2nd)
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F Locrian Parallel Mode of F (Darkest): F, Gb, Ab, Bb, Cb, Db, Eb (Minor with a flat 2nd and 5th)
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Chunk — Key of F#
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F# Lydian Parallel Mode of F# (Brightest): F#, G#, A#, B#, C#, D#, E# (Major with a sharp 4th)
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F# Ionian Parallel Mode of F# (Major): F#, G#, A#, B, C#, D#, E# (Natural Major)
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F# Mixolydian Parallel Mode of F#: F#, G#, A#, B, C#, D#, E (Major with a flat 7th)
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F# Dorian Parallel Mode of F#: F#, G#, A, B, C#, D#, E (Minor with a sharp 6th)
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F# Aeolian Parallel Mode of F# (Minor): F#, G#, A, B, C#, D, E (Natural Minor)
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F# Phrygian Parallel Mode of F#: F#, G, A, B, C#, D, E (Minor with a flat 2nd)
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F# Locrian Parallel Mode of F# (Darkest): F#, G, A, B, C, D, E (Minor with a flat 2nd and 5th)
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Chunk — Key of G
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G Lydian Parallel Mode of G (Brightest): G, A, B, C#, D, E, F# (Major with a sharp 4th)
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G Ionian Parallel Mode of G (Major): G, A, B, C, D, E, F# (Natural Major)
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G Mixolydian Parallel Mode of G: G, A, B, C, D, E, F (Major with a flat 7th)
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G Dorian Parallel Mode of G: G, A, Bb, C, D, E, F (Minor with a sharp 6th)
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G Aeolian Parallel Mode of G (Minor): G, A, Bb, C, D, Eb, F (Natural Minor)
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G Phrygian Parallel Mode of G: G, Ab, Bb, C, D, Eb, F (Minor with a flat 2nd)
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G Locrian Parallel Mode of G (Darkest): G, Ab, Bb, C, Db, Eb, F (Minor with a flat 2nd and 5th)
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Chunk — Key of Ab
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Ab Lydian Parallel Mode of Ab (Brightest): Ab, Bb, C, D, Eb, F, G (Major with a sharp 4th)
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Ab Ionian Parallel Mode of Ab (Major): Ab, Bb, C, Db, Eb, F, G (Natural Major)
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Ab Mixolydian Parallel Mode of Ab: Ab, Bb, C, Db, Eb, F, Gb (Major with a flat 7th)
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Ab Dorian Parallel Mode of Ab: Ab, Bb, Cb, Db, Eb, F, Gb (Minor with a sharp 6th)
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Ab Aeolian Parallel Mode of Ab (Minor): Ab, Bb, Cb, Db, Eb, Fb, Gb (Natural Minor)
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Ab Phrygian Parallel Mode of Ab: Ab, Bbb, Cb, Db, Eb, Fb, Gb (Minor with a flat 2nd)
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Ab Locrian Parallel Mode of Ab (Darkest): Ab, Bbb, Cb, Db, Ebb, Fb, Gb (Minor with a flat 2nd and 5th)
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Chunk — Key of A
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A Lydian Parallel Mode of A (Brightest): A, B, C#, D#, E, F#, G# (Major with a sharp 4th)
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A Ionian Parallel Mode of A (Major): A, B, C#, D, E, F#, G# (Natural Major)
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A Mixolydian Parallel Mode of A: A, B, C#, D, E, F#, G (Major with a flat 7th)
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A Dorian Parallel Mode of A: A, B, C, D, E, F#, G (Minor with a sharp 6th)
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A Aeolian Parallel Mode of A (Minor): A, B, C, D, E, F, G (Natural Minor)
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A Phrygian Parallel Mode of A: A, Bb, C, D, E, F, G (Minor with a flat 2nd)
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A Locrian Parallel Mode of A (Darkest): A, Bb, C, D, Eb, F, G (Minor with a flat 2nd and 5th)
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Chunk — Key of Bb
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Bb Lydian Parallel Mode of Bb (Brightest): Bb, C, D, E, F, G, A (Major with a sharp 4th)
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Bb Ionian Parallel Mode of Bb (Major): Bb, C, D, Eb, F, G, A (Natural Major)
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Bb Mixolydian Parallel Mode of Bb: Bb, C, D, Eb, F, G, Ab (Major with a flat 7th)
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Bb Dorian Parallel Mode of Bb: Bb, C, Db, Eb, F, G, Ab (Minor with a sharp 6th)
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Bb Aeolian Parallel Mode of Bb (Minor): Bb, C, Db, Eb, F, Gb, Ab (Natural Minor)
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Bb Phrygian Parallel Mode of Bb: Bb, Cb, Db, Eb, F, Gb, Ab (Minor with a flat 2nd)
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Bb Locrian Parallel Mode of Bb (Darkest): Bb, Cb, Db, Eb, Fb, Gb, Ab (Minor with a flat 2nd and 5th)
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Chunk — Key of B
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B Lydian Parallel Mode of B (Brightest): B, C#, D#, E#, F#, G#, A# (Major with a sharp 4th)
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B Ionian Parallel Mode of B (Major): B, C#, D#, E, F#, G#, A# (Natural Major)
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B Mixolydian Parallel Mode of B: B, C#, D#, E, F#, G#, A (Major with a flat 7th)
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B Dorian Parallel Mode of B: B, C#, D, E, F#, G#, A (Minor with a sharp 6th)
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B Aeolian Parallel Mode of B (Minor): B, C#, D, E, F#, G, A (Natural Minor)
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B Phrygian Parallel Mode of B: B, C, D, E, F#, G, A (Minor with a flat 2nd)
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B Locrian Parallel Mode of B (Darkest): B, C, D, E, F, G, A (Minor with a flat 2nd and 5th) |