EXAMPLE47 eXAMPLeS WIth ChoRDS I thRoUGh VII
There are three major triads in C Major and three in C Minor, so you can make many ‘simple’ chord progressions using only major triads (see soul classics like Knock On Wood, Gimme Some Lovin’). Rather than following the Major and Minor scales diligently, it
done.here canEbe more id.iomatic to simply use the ‘neutral’ notes from the two. keys as is with the C and G.
This Example introduces the bVImaj7 alongside the bVII (boAth from C Minor) and I (from C Major); the melody uses arpeggios to negotiate the changing harmony.
There are two major 7 chords in a major key and two in a minor key. All four major 7 chords are used here in the style of Anita Baker’s Sweet Love.
Almost all examples of borrowing (here and in the real world) are in a Maj3or ke4y with the chords from a Minor key brought in. However, it can be surprising and effective to do the reverse, as can be heard in the verses of the Doo5rs’ Light My Fire and Too High by Stevie Wonder. This can result in satisfyingly chro3matic melodies as demonstrated here.