Lists the diatonic triads of the parallel key that are not diatonic to
key (the classic borrowed chords such as iv, bVI, and bVII in a major
key), plus the Neapolitan (a major triad on the flat second degree). Each
carries its Roman numeral and borrowedSource relative to key.
Every chord is spelled as the mode it is borrowed from writes it, recorded as
a rootSpelling hint: C major borrows Fm, Ab and Bb from C minor and
takes Db as its Neapolitan, while a minor key borrows in the other direction
(A minor borrows A, D and F#m from A major, with Bb as its
Neapolitan). The major dominant of a minor key — E in A minor — is not among
them: raising the seventh degree is an alteration inside the key rather than a
chord taken from the parallel mode.
The modal-interchange palette of a key.
Lists the diatonic triads of the parallel key that are not diatonic to
key(the classic borrowed chords such asiv,bVI, andbVIIin a major key), plus the Neapolitan (a major triad on the flat second degree). Each carries its Roman numeral and borrowedSource relative tokey.Every chord is spelled as the mode it is borrowed from writes it, recorded as a
rootSpellinghint: C major borrowsFm,AbandBbfrom C minor and takesDbas its Neapolitan, while a minor key borrows in the other direction (A minor borrowsA,DandF#mfrom A major, withBbas its Neapolitan). The major dominant of a minor key —Ein A minor — is not among them: raising the seventh degree is an alteration inside the key rather than a chord taken from the parallel mode.