From the Borrowed Chords theory, I should be able to use the flat-third major (♭III) in my composition and it should sound good. However, after many trial and errors, I am unable to discover any suitable chord progression that utilizes the flat-third major pleasingly. Does anybody know how to apply the flat-third major chord into a song?
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1A couple chord progressions using bIII that I've found useful are I-bIII-IV and I-II-bIII-IV. Even though they're similar, the first one sounds very pop-y and upbeat, and the second one sounds more serious, especially in a natural minor key or dorian mode (as i-ii-III-IV).– KevinSep 13, 2014 at 5:30
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@Kevin - i-III in a minor key is what's expected. It's the relative min/maj. The unexpected is in a major key, going to a major b3.– TimSep 13, 2014 at 6:29
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You're right. I-bIII-IV definitely still works in a major key/mixolydian mode in my experience, and I-II-bIII-IV can work a well.– KevinSep 13, 2014 at 17:18
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As it happens, I wrote a song recently which uses bIII; the song modulates for a few bars from I to bIII by using iv as a pivot chord (it's ii in the key of bIII). The chord sequence is IV V vi iv bIII (I in new key) iv (ii) bVI (IV) ii V.– No'am NewmanDec 17, 2019 at 5:50
6 Answers
It's fairly 'in yer face', and works best in blues and soul. Think 'Knock on Wood', often used between I and IV. Good as a turnaround , I-♭III- II- ♭II -I, first four in the last bar of sequence.
You say 'I can use'. You can use anything you like in your songs - they don't have to obey any rules or theory. They may well do, but they don't have to. If it sounds good...
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I have rephrase the 'I can use' thing, no too much difference though. Thanks for pointing that out.– krismathSep 12, 2014 at 17:48
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'Borrowing' can justify just about any chord. Save the concept for when the chord is used as a modulatory gateway into the key it's 'borrowed' from.– LaurenceDec 29, 2018 at 19:49
In a minor key, you can use: i - ♭III - ♭VII - IV. Since this is minor key, the flats are redundant, but I like to include them anyway, for clarity. Several songs use this progression, but one that comes to my mind is "Radioactive" by Imagine Dragons (Bm-D-A-E). I'm not at a keyboard, but I'd imagine the same progression would work reasonably well if you replaced i with I.
From a functional harmony perspective, ♭III seems to have a tonic function.
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On further reflection, its funny how I mention functional harmony, since modal chord progressions often don't really even use the traditional dominant or predominant function. (Perhaps a subdominant and pre-subdominant function would be more in line?) Sep 12, 2014 at 18:39
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It's not made explicit, but I think OP might be talking about using ♭III in a major key. Mar 23, 2020 at 2:25
The basic classical theory is that borrowed chords have the same function as the diatonic chords for which they substitute. So, a borrowed minor iv
still functions as a subdominant.
But you might consider a different theory if you are dealing with rock music. Some rock music used chord roots based on a minor scale, but chromatically makes the chord qualities on those roots major. In other words, roots I
and ♭III
come from the minor orientation of a lot of rock music, but chords are harmonized with major thirds. It's a bit similar to how blues adds minor sevenths to I IV V
even though those tones aren't in the "key."
This post discusses the style with one textbook source calling in "chromatic minor": Harmonic succession in the chromatic-minor system
From this perspective ♭III
isn't borrowed. It's part of a different, unique tonality.
The ♭III chord is also used in the Mario Bros 3 water level theme :-)
I - IV - iii - ♭III - IV - V
How about I - ♭II - ♭III - ♭II - I?
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You show roman numerals for minor i - ♭II - ♭III, but both of those sound like they have major tonic chords: I - ♭II - ♭III (which is good, because if they were minor they would be i - ♭II - III progressions).– user39614Feb 10, 2018 at 6:23
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Use the ♭VII chord as well. That nice fourth interval between ♭III and ♭VII helps to move there nicely, or at least to set it up tonally, thirds can be a nasty jump. Jarring if nothing else, so nice subdominant to tonic, IV - I or related ♭VII / ii - I, can really smooth that out. Also minor iv.
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I'm taking the liberty of throwing the part about "the licc", which seems to be a fragment of a thought that isn't adding anything to the post. If this user wants to rise from the dead and revert my edit then hopefuly they'll also elaborate on the phrase. Mar 23, 2020 at 2:28