Borrowed Chords 101: Ultimate Beginner’s Guide + Great Tips

Borrowed chords are super versatile/flexible.

They can add depth, variety, and surprise to your chord progressions 一 giving your tracks that extra flavor that keeps listeners hooked. 

Plus, they’re an amazing way to introduce emotion, tension, and unexpected twists into your own music.

As producers, knowing all about borrowed chords can seriously enhance your music theory skills. 

They’re perfect for creating unique textures, modulating smoothly between keys, and building progressions that stand out. 

This way, your tracks will have a little extra edge (which is always great).

That’s why I’m breaking down absolutely everything you need to know about borrowed chords, like:

• What borrowed chords are and why they’re so useful ✓
• The difference between diatonic chords and non-diatonic chords ✓
• How to use the parallel minor key and parallel major key ✓
• The role of modal interchange in borrowed chords ✓
• Working with any parallel mode (major mode/minor mode) ✓
• Common borrowed chords in major keys and minor keys ✓
• How to lay down borrowed chord progressions in your DAW ✓
• Advanced/uncommon tips, tricks, and techniques ✓
• Using borrowed chords in MIDI programming for added precision ✓
• Borrowed chords for modulation & dynamic transitions ✓
• Much more about borrowed chords ✓

By knowing all about borrowed chords, you can easily create dope, more interesting harmonies and build progressions that feel dynamic/fresh. 

And, you’ll be able to add textures, resolve tension creatively, and modulate between keys like a true boss.

This way, not only will your theory knowledge be on point, but your tracks will have that polished, professional sound that people instantly stop and listen to.

So, let’s get to it…

What Exactly Are Borrowed Chords?

Borrowed chords are simply chords taken from a parallel key or mode to add variety, color, and tension to a progression (while staying grounded in the original key).

For example, in the key of C major, you could borrow the minor iv chord (Fm) from the parallel minor key of C minor to create a subtle but noticeable shift in emotion.

These chords fall under the concept of ‘modal interchange,’ where you mix chords from a parallel scale or mode.

This could be like borrowing a flat VI chord (A♭) or flat VII chord (B♭) from C minor, even when your song remains rooted in C major.

You can use borrowed chords to break the predictability of purely diatonic chords and knock out progressions that stand out while maintaining harmonic fluidity.

Don’t worry if this sounds complex right now…

We’ll break down every element of borrowed chords in detail, from their basics to advanced techniques, so you can master borrowed chords in no time.

Understanding Diatonic and Non-Diatonic Chords

Diatonic chords are built from the notes of a single scale and form the backbone of a key, so needless to say they’re essential for holding down your progressions.

In the key of C major, for example, the diatonic chords include: 

• C (I)
• Dm (ii)
• Em (iii)
• F (IV)
• G (V)
• Am (vi)
• Bdim (vii°)

These are derived directly from the major scale and are used in countless popular songs that you hear on the radio all day long.

Non-diatonic chords, however, introduce notes that aren’t part of the scale 一 creating opportunities for more mind-blowing harmony.

Borrowed chords fall into the category of non-diatonic chords because they bring in notes and chords from a parallel key (such as C minor) into the structure of C major.

For example, adding a flat VI chord (A♭) or a minor iv chord (Fm) to a C major progression immediately shifts the emotional tone.

It mixes familiar and unexpected elements in a really cool, intriguing way.

When working with borrowed chords, you should focus on how they interact with your tonic chord and whether they support or challenge the original key. 

This interaction is key for keeping your progression on point.

PRO TIP: When using borrowed chords, make sure to play around with their placement. 

For example, dropping a minor iv chord in the pre-chorus can add tension before resolving back to a C chord in the chorus.

It’ll give your track a natural sense of movement and depth, which is really great.

Side note, if you want to learn all about diatonic scales, we got you covered.

Parallel Minor Key and Borrowed Chords

If you want to truly master borrowed chords, you’ve got to understand parallel minor and major keys, so let’s break it down.

The parallel minor key is a minor scale that shares the same root note as a major scale but introduces a completely different set of intervals and harmonic characteristics.

In the key of C major, the parallel minor key would be C minor…

It replaces the bright and uplifting tones of the major scale with the darker, moodier qualities of the natural minor scale.

Borrowed chords from the parallel minor, like the minor iv chord (Fm) or the flat VI chord (A♭), are some of the most common ways to create tension/emotion in a progression.

For example, taking a simple C – G – Am – F progression in C major and substituting the F (IV chord) with an Fm (minor iv chord) instantly changes the vibe.

It goes from like a super hyped up mood to a more reflective tone.

Another common example is incorporating the flat VII chord (B♭) from the parallel minor to introduce a grounded feeling before heading back to the tonic chord (C). 

This chord works beautifully in builds or pre-choruses, by the way.

When using borrowed chords from the parallel minor scale, you can try sequencing them in MIDI with velocity automation like I do.

PRO TIP: Lowering the velocity on borrowed chords like Fm or A♭ can soften their attack 一 giving them a more subtle, haunting quality in the mix.

I suggest playing around with layering borrowed chords from the parallel minor with seventh chords (such as an Fm7 or A♭maj7) to add harmonic depth to your track.

This is especially great when it comes to emotional breakdowns or bridges.

Parallel Major Key and Borrowed Chords

Parallel major keys, on the other hand, are the exact reverse of parallel minor keys. 

They share the same root note as a minor scale but bring back the brighter, more uplifting qualities of the major scale.

For example, the parallel major key of C minor is C major, and borrowing chords from C major lets you introduce moments of optimism into a progression set in a minor key.

Replacing the minor iv chord (Fm) in a C minor progression with the IV chord (F) from the parallel major is another great example, so definitely try that out. 

This substitution softens the progression and gives it a more triumphant quality.

You can also experiment with borrowing the major V chord (G) from the parallel major to replace the diatonic minor v chord (Gm) in C minor. 

This borrowed chord adds a sense of resolution and strength to your progression.

Consider a progression like Cm – F – G – Cm, where the borrowed IV chord (F) and V chord (G) inject brightness into the minor tonality without losing its depth.

PRO TIP: To add even more variety, incorporate extensions like a G7 or Fmaj7 when borrowing chords from the parallel major key. 

These extensions add warmth and smoothness to transitions, especially in slower tracks or ballads (like R&B or indie tracks).

When layering these borrowed chords, use subtle EQ boosts around 2–4 kHz to emphasize the harmonic sparkle of the major chords (like a G major). 

This will make sure they cut through the mix without overpowering the surrounding minor elements, which you always want to look out for.

If you’re looking for even more mixing mistakes to look out for, I got you covered.

Modal Interchange and Borrowed Chords

Modal interchange (used interchangeably with modal mixture) involves borrowing chords from modes that share the same tonic note/root note.

If you want to really understand how borrowed chords can expand the harmonic depth of a progression, then this concept is vital.

For example, the Aeolian mode, which aligns with the natural minor scale, is a common source of borrowed chords like the minor iv chord (Fm) or the flat VI chord (A♭).

In C major, you might borrow the flat VII chord (B♭) from the Mixolydian mode 一 giving your progression a bluesy or rock-inspired twist that’s pretty cool.

One of the classic examples/most common examples of modal interchange is borrowing the major IV chord (F) from the Lydian mode.

This introduces a raised fourth degree (F#) into the mix for a brighter, more ethereal quality that seems really immersive and legendary.

Borrowing chords from other modes, such as Dorian or Phrygian, can add unexpected flavors to your progressions which is pretty cool.

For example, the Dorian mode provides access to a major II chord (D) that can act as a smooth pivot in your track.

PRO TIP: When experimenting with modal interchange, use a spectrum analyzer in your DAW to visually track the harmonic balance of your progression. 

This can help ensure your borrowed chords complement the overall mood/vibe and don’t sound out of place or just… wrong.

Start simple by borrowing one or two chords from a mode, such as the Lydian IV or the Mixolydian VII.

Then, simply build more complex progressions (gradually) as you become comfortable with the technique, which shouldn’t take very long.

The Most Common Borrowed Chords in Major Keys

Borrowing chords in major keys can completely change the vibe of your progressions and help you add some unexpected twists and dope harmonies. So, for this next part, let’s break down some of the most common borrowed chords from the parallel minor key and explore how to use them in your tracks.

• Minor iv Chord

The minor iv chord is a simple but powerful minor chord used to bring some seriously deep emotion to a major key progression.

In C major, the minor iv chord is Fm, which brings in the A♭ note from the parallel minor scale (C minor), adding a darker quality compared to the diatonic IV chord (F).

For example, in a progression like C – G – Am – F, replacing F with Fm (resulting in C – G – Am – Fm) gives the progression a more introspective vibe.

This works great for breakdowns or slower sections.

If you extend this to an Fm7, you add even more depth and can use it to create a smoother transition back to the tonic chord (C).

PRO TIP: When you use Fm, try playing around with inversions like Fm/A♭ to add movement within the bassline. 

It’s also a good idea to automate the velocity of the A♭ note to emphasize its role in changing the mood.

• Flat VI (♭VI) Chord

The flat VI chord is A♭ in C major, and it brings a full, grounding quality to your chord progressions that gets people in their feels.

For instance, if you’re working with a progression like C – G – Am, inserting A♭ as the flat VI before the G chord (e.g., C – A♭ – G) creates a bold, dramatic shift.

This is perfect for cinematic builds or transitions.

Pro Tip: Try layering the A♭ chord with a pad sound or adding a sus2 extension (A♭sus2) to give it a more ethereal texture in slower tracks.

• Flat VII (♭VII) Chord

The flat VII chord is B♭ in C major, and it’s a go-to borrowed chord for adding energy to your progressions while still keeping that minor chord quality.

For example, in the progression C – F – G, adding B♭ as the flat VII chord right before looping back to C (e.g., C – F – G – B♭) creates a fresh lift that feels dynamic.

And, completely satisfying and final.

PRO TIP: The B♭ chord works amazingly as a setup for tension in a pre-chorus. You can experiment with extensions like B♭7 or add a slight delay to make it stand out in your mix.

• Diminished ii° Chord

The diminished ii° chord adds a lot of tension and drama to a C major progression, so if that’s what you’re going for, this could be perfect.

In C major, the Ddim chord borrows the F♭ note from the parallel minor scale, and it’s super useful for connecting the tonic chord (C) to the dominant G chord, as in: 

• C
• Ddim
• G
• C

My advice to you when sequencing the Ddim chord in your DAW is to use a lower velocity on the diminished notes to keep it from sounding harsh. 

Add light reverb to soften the attack and help it blend into the progression.

The Most Common Borrowed Chords in Minor Keys

Borrowing chords in a minor key is an excellent way to brighten up your progressions or add harmonic interest while staying rooted in the minor tonality. So, switching gears, here are 3 of the most common borrowed chords from the parallel major key and how you can use them in your own tracks.

• Major IV Chord

The major IV chord is a commonly borrowed chord used to add the ultimate sense of brightness or hope to a minor key progression (it’s the most popular too actually).

In C minor, the diatonic iv chord is Fm, but when you borrow the F chord (IV) from the parallel major key (C major), the progression takes on a fresh, uplifting quality.

For example, a progression like Cm – Gm – Fm can be transformed into Cm – Gm – F, where the borrowed F chord creates a strong pull toward the tonic C minor.

All while bringing a more optimistic vibe to the table.

This borrowed chord works well in choruses or outros, where you want to lift the mood slightly without completely losing the emotional depth of the minor key.

To make the F chord stand out in a big way, try layering it with a sus2 or add9 extension, such as Fadd9 一 you’ll see what I mean when you try it out.

This gives the chord a softer, more emotional tone that works great for ballads or cinematic sections.

• Major V Chord

The major V chord is another borrowed chord from the parallel major key, and it’s often used to add a stronger resolution in a minor key progression.

In C minor, the diatonic v chord is Gm, but borrowing the G chord (V) from C major introduces the leading tone B natural.

This will give you a much stronger pull back to the tonic Cm.

For example, a progression like Cm – Gm – Fm can become Cm – G – Fm, where the borrowed G chord adds tension and makes the resolution back to Cm feel perfect.

PRO TIP: When using the G chord in C minor, experiment with a G7 extension. This adds even more tension and helps create a more dramatic resolution to the tonic chord.

• Flat II (♭II) Chord

The flat II chord, also known as the Neapolitan chord, is borrowed from the parallel major key and is a great way to add a sick intensity to a minor key progression.

In C minor, the flat II chord is D♭, and you can use it as a substitution for the diatonic ii° chord (Ddim). 

For example, in a progression like Cm – Gm – Ddim, swapping the Ddim with D♭ (e.g., Cm – Gm – D♭) creates a smoother, more dramatic lead into the G chord or back to Cm.

PRO TIP: The D♭ chord works beautifully when played as a D♭maj7, especially in slower sections like breakdowns. 

You can even enhance its emotional impact by adding a low bass note, such as D♭2, to blow up its grounding quality.

PRO TIP

If you’re working with pads or synths, try layering the borrowed chords with subtle harmonic overtones. 

For example, take the Fm7 (minor iv chord) in the key of C major and layer it with a warm pad sound, then introduce subtle harmonic overtones.

You can use something like Valhalla Shimmer or a harmonic exciter. 

It will create an ethereal, atmospheric effect that’s perfect for intros, breakdowns, or outros regardless of the genre. 

Adding a shimmer effect to a chord like Fm7 can elevate that crazy cool atmosphere of your track, so definitely try that out as well.

For example, try sequencing Fm7/A♭ as part of your progression and using automation to gradually increase the shimmer’s intensity during the build-up. 

This is perfect for ambient genres where you want the chords to feel more immersive.

Borrowed chords also work wonders in borrowed chord progressions like C – A♭ – G – Fm, giving your tracks a cinematic edge while staying grounded in the key of C major.

For instance, adding subtle reverb to the A♭ (flat VI chord) and a slight delay to the Fm (minor iv chord) can help each chord transition smoothly.

Again, you can use inversions, like Fm/C, to make the bassline flow through the progression flawlessly 一 enhancing its overall movement and cohesion.

Advanced Borrowed Chord Extensions

Adding extensions to borrowed chords is a killer way to make them stand out, so you can start by taking the flat VI chord (A♭) in a C major progression. 

Then, turn it into an A♭maj7 or A♭add9, which can make the chord sound fuller and more modern 一 perfect for lo-fi or other chill genres.

The minor iv chord (Fm) can also be extended to Fm7 or even Fm9, which adds richness, especially in sections like bridges or outros. 

For example, a simple chord progression like C – Fm7 – G7 – C has a smoother flow compared to just using triads.

What I like to do personally is use altered extensions like A♭maj7(#11) for a more ethereal vibe in ambient or cinematic tracks. 

This works best if you’re layering with pads or strings.

When extending borrowed chords, make sure to use a spectrum analyzer to check how the added frequencies interact with your mix, especially in the low-mid range. 

This prevents the chords from muddying up your track or completely destroying it.

• Pro Tip: Using Altered Extensions for Sick Harmonic Colors

Altered extensions like #11, 13, or b9 can give your borrowed chords a unique edge.

For example, turning the flat VII chord (B♭) into B♭7(#11) can create a floating, unresolved feeling that adds tension before returning to the tonic chord.

Try this with the minor iv chord (Fm) as well…. Extending it to Fm9 and automating the A♭ note can create a smooth, evolving texture in your track.

Make sure to use a soft attack on your layered instruments when playing extended borrowed chords to help the harmonic complexity shine without overwhelming things.

Creating Unique Textures with Borrowed Chords

Using borrowed chords is one of the best ways to create unique textures in your tracks by layering different: 

• Voicings
• Extensions
• Effects

For example, in the key of C major, adding a flat VI chord (A♭) layered with a pad sound while playing the minor iv chord (Fm) with a piano can add depth to your progression.

To make the texture even more interesting, try using inversions as we just talked about (like A♭/C) to introduce subtle bass movement.

This will create a more dynamic and engaging sound you can play around with.

PRO TIP

For a more modern vibe, pair borrowed chords with shimmer reverb or a stereo widener to fill out the harmonic space in your mix, making the chords feel lush/atmospheric. 

Don’t forget to check the spectrum analyzer to make sure the low-mids don’t clash with your bassline (it’ll show you everything you need to know).

Borrowed Chords In Different Scales

Borrowed chords are not limited to a specific major and minor mode… you can also incorporate them into various scales to unlock more harmonic possibilities. 

For example, in the Aeolian mode, you can use the flat VII chord (B♭) or the flat VI chord (A♭) to emphasize the minor tonality while introducing fresh movement.

In a C minor progression, combining A♭ (flat VI) and B♭ (flat VII) into Cm – A♭ – B♭ – Cm works well for dynamic builds or intros. 

On the same note, the Dorian mode opens up options like the major II chord (D), which adds brightness and contrast to a minor progression, as in Cm – D – Fm – G.

PRO TIP: Try introducing non-diatonic chords, like a borrowed Bdim (diminished chord) from the Harmonic Minor Scale, into your Aeolian mode (minor mode) progression for added tension. 

For example, play Cm – Bdim – G – Cm to create an exotic feel that stands out.

When layering borrowed chords in scales like the Harmonic Minor or Phrygian, make sure your melody lines match perfectly with the added notes to avoid clashing tones. 

Borrowed chords like A♭add9 can add smoothness when paired with melodic lines that emphasize the A♭ note.

Bonus: Unconventional or Microtonal Scales

Unconventional scales (like microtonal scales) pair beautifully with borrowed chords to push the boundaries of traditional harmony. 

For example, in the Harmonic Minor Scale, the Bdim chord and G7 chord can be combined with a borrowed A♭ chord (flat VI) to create a haunting progression like: 

• Cm
• Bdim
• G7
• A♭

Microtonal scales, if you’re not sure, divide the octave into more than 12 pitches, which lets you add borrowed chords with slightly altered intervals for a super unique sound. 

For example, pairing a C chord with a microtonal mixture adjusted A♭ chord can create tension that feels both eerie and captivating at the same time.

Don’t forget to use a spectrum analyzer to monitor the harmonic balance when working with microtonal chords because you want to make sure everything is on point.

Also, make sure to keep the low frequencies clean by using high-pass filters on instruments playing borrowed chords to ensure clarity in your mix.

Final Thoughts

Borrowed chords, as you now know, are all about adding depth, variety, and emotion to your tracks to take things to the next level.

They can transform basic progressions, create unexpected twists, and bring some serious character to your music.

By using what we talked about today, not only will you master borrowed chords in no time, but you’ll enhance your music theory skills overall. 

This way, you’ll be able to lay down standout progressions, modulate between keys like a pro, and even create sick harmonic textures that grab your listener’s attention. 

Trust me, it’ll help your tracks stand out and sound way more polished.

And, as a special bonus, you’ve got to check out these Free Advanced MIDI Chord Progressions, which are serious game-changers. 

It includes 24 unique, legendary MIDI chord progressions that you can use however you want; perfect for any genre, vibe, or style.

When you use them, you’ll set yourself apart from 99% of producers who rely on basic chords and progressions (can you say show-stopping?).

The best part is, they’re 100% free, royalty-free, created by some of the world’s best, and usable with any instrument or sound you can imagine. 

They’ll show you how to expand your harmonic skills, use borrowed chords creatively, and help you further understand how advanced progressions work in real tracks.

Bottom line, knowing all about borrowed chords and using them in your tracks will not only excel your beats but help them stand out above the competition. 

So, keep experimenting, stay creative, and you’ll be knocking out professional, show-stopping progressions in no time.

Until next time…