Modal Borrowing labeling question

[Spin Doctor]

The OP's table is simply to show possible modal interchange choices.
That is, what chords may be "borrowed" from a parallel mode.

It's a common enough theoretical excuse for when a song uses a "wrong" chord for it's key.
I've seen people argue that something like a blues progression is doing this.
" The I chord isn't supposed to be a dominant 7th chord! It's a modal interchange , borrowed from the mixolydian mode !"

I do agree it is over thinking, when likely the song writer simply thought "this chord sounds cool here"

It's weird how any post about modes tends to veer away from the original question.
Almost like the responses are borrowing from a parallel thread.

Ahh ok. I guess I really don't know enough about this topic to speak on it. I should take a closer look at this. Modal interchange, hmmm.

 

[Tombolino]

Def, while playing it would be insane overthinking and impossible for me.
But for writing, its gold!

 

[Spin Doctor]

Def, while playing it would be insane overthinking and impossible for me.
But for writing, its gold!

Yeah, I can see how this would be great for songwriting or reharmonizing songs. I haven't spend much, if any time thinking about that though. I get it now.

 

[Whousedtoplay]

Ahh ok. I guess I really don't know enough about this topic to speak on it. I should take a closer look at this. Modal interchange, hmmm.

Don't get me wrong. One could use ANY(!!!) chords and some theoreticians (good, advanced) will find a reason why that "strange" chord has been used!

Yeah, I can see how this would be great for songwriting or reharmonizing songs.

I'm just trying to imagine how a musician sits down with a big "modal interchange" spreadsheet (which could include ANY IMAGINARY CHORDS) and try to compose a song.

Just thinking out loud...

 

[MalcolmAmos]

I'm just trying to imagine how a musician sits down with a big "modal interchange" spreadsheet (which could include ANY IMAGINARY CHORDS) and try to compose a song. Just thinking out loud...

• He first decides on what key he wants to use. Yep gotta have a starting point.
• He then knows the notes and chords open to him.
• He then decides on the mood of the song he is looking for.
• Ionian is happy and up beat. Ionian also has the same notes as the major scale, so I find it hard to take Ionian modal. Ionian and a V-I chord progression really wants to stay tonal. Of course IMO.
• Lydian is just about the same, but, with a little day dreamy feel. If you play it over a chord vamp where the vamping chord contains the #4 note in the key.
• Mixolydian is said to have a Latin mood over a chord vamp. And it's vamping chord will contain a flatted 7th chord in it's make-up..

That takes care of the major modes. Now to the minor modes.

• Aeolian is said to have a sad mood. I do not hear sad, I hear minor. If you want sad or minor think about using Aeolian. As Aeolian is the same notes as the Natural minor scale if you are using a tonal chord progression, going to be hard to make Aeolian into a mode, as the chord's V-I wants to call attention to the tonal quality of the Natural Minor Scale.
• Dorian is said to have an attractive minor mood. If I'm going minor Dorian is my first choice. With a modal vamp using the natural 6 note in the vamping chord.
• Phrygian is said to have a Middle Eastern mood. If that is what you want go with Phrygian. Yes again over a vamping chord containing b2 note.
• If not Lycrain (sp?) is you only other choice. It is the diminished mode and has a dark and tense mood. I find a one chord vamp of the m7b5 chord does the trick.

OK from here you get into all the fancy stuff, like if you do not like the sound of Lydian's raised 4th how about making it Lydian dominant by also adding a flatted 7 to the raised 4th.

And from here we open the can of worms of having the treble clef and the bass clef share like notes so harmony can happen. Then there is that rhythm thing…...

 

[Whousedtoplay]

"And from here we open the can of worms."

A very good statement!