The Jazz Piano Course: Modal Interchange (Borrowed Chords) Simply Explained! (Lesson 6) 

This one blew my mind. Along with the previous substitutions, this one revealed a lot of the puzzling secrets of jazz sound. Simply substitute chords, substitute the substitution and experiment like that. Will take hours of practice, but is not longer the mystery that it was. Thank you for the video.

I can't believe you managed to cover modal interchange in a 16 min long video! And that too in such an insightful manner. Blown away.

This is what i really need to understand jazz chords better. Thank you so much. You made my day 🙏

Great tutorial! I think the benefit of calling it “Modal interchange” and not just “chords you can use in the key of C” is that if you want to play lead lines over the chord knowing where the comes from allows you to choose the right scales and arpeggios over each of the unexpected chords. Just a thought , thanks again

I'm so happy this course continued!!! Thanks for putting out such incredible content.

Thank you for the great contents. Learnt a lot. Applying the concepts with the song 'Have Yourself a Merry Little Christmas'. Works like magic!

Oh man, this is great stuff! Thank you so much for sharing these "magic" tricks.

Top notch videos Thank you 🙏 so much for your mild mannered teaching style ☮️

I follow all your courses. This one is amazing as always.

Terrific video. Maybe the best tutorial I have ever seen. It was so easy to understand. I think the keys for the clarity of the tutorial are the following: 1. Using the C major scale as an example (IMHO new stuff should be shown first in C major or A minor). 2. Having the chords and functions (of both versions) written on the screen all the time so we've got time to think and compare and understand the connection of what we are first learning

I loved it! It's the best video on Modal interchange!

This is fantastic. Listening to some of these substitutions makes me think of some classic Stevie Wonder songs and now I suspect that this is the type of thing he's doing. Beautiful results! Thank you so much for all of these great tutorials.

Most definitely one of the best videos that explain "modal interchange". Your teaching approach is very understandable and clearly explained. I don't understand why you mentioned at the .13 second mark that modal interchange is both useful and useless. You did explain later in the video and I understand that there are many ways of analysing the same chord progression each of which is correct depending on the context to which it is presented. In other words, the presence of an additional non-diatonic chord into a progression can be explained in a few ways such as: A passing chord A tritone substitute for a secondary dominant A borrowed chord from a parallel mode All of these are plausible explanations for a substituted chord but I agree with your lesson in that looking at it from the perception of modal interchange, it makes it clear and very understandable. I feel that after watching your excellent video that modal interchange is only 100% useful. For example, If I were to just randomly toss a chord into a progression (to be used as a substitution or as a passing chord, without considering the modal interchange approach), I gurantee it would sound horrible. I also learned much in regards to your focus on using "modal interchange" for chord substition rather than adding additional chords into a progression as passing chords. Most all youtube videos related to "modal intetchange" focus on "adding" additional chords as passing chords into a progression rather than explaining how to utilize "modal interchange" as actual chord substitution. Again, thank you very much for the awesone lesson!

Very much enjoying this series

Looking forward to the next lesson.

Very good! Especially the Over the Rainbow progression

So deep and so understandable. Thank you!

Thank You ! its easy to learning with your lesson style.

I have just finished your course, it was so helpful, amazing! I hope you continue soon Thanks!

Thanks you so very much for this course. I have watched all your videos so far and have learned so much. It is wonderful to have such a comprehensive course to help me understand jazz. Thanks from the bottom of my heart

This is so good. Thank you.

this course is incredibly helpful thanks a lot!

explained very well, thanks for your work.

Thank you so much for this series

Best video I’ve ever seen

Such a useful lesson! Thank you so much!

I love your channel and tutorials. You are awesome:D

Fantastic! Thank you!

Your content is great! Thanks a lot.

Good lesson man 🙏🏼🙏🏼

this video is so awesome

Thank you for this. You guys are heroes

Very interesting and informative thank you.

Very useful my friend ❤ thanks 😊

Thanks a lot , i´m from Peru , I'm waiting for the next part !

Thank you, you helped me so much

Thank you so much sir ❤️🙏

Great videos

Excellent

Thank you so much.

Awesome content, as usual. Would love to see harmonic analysis on hits like "REO Speedwagon - Can't Fight This Feeling". Would appreciate a tutorial on the Neapolitan Sixth! Keep up the good work, thank you!

Surprising when the video was done I was dissapointed because it had ended. Very good lesson👍

Loved every episode of this series. I hope someday you'll make more episodes.

thank you.

very useful

Superb,this lesson is super useful. Thanks for all 😍

that is what i was looking for, not videos teling to interchange the bVI for the tonic vim chord or things like that

15:10 melody sounds like I Can't Get Started

Great! Love that you took the time and gave us some usecases and examples for each borrowed chord. The bVI is one of my favourite chords to borrow, sounds so joyful and surprising everytime. I'm wondering if there are enough concepts out there that justify the use of at least every minor and major chord, relating back to a root key. Modal Interchange already covers a lot, Chromatic Mediants would include the IIImaj and VImaj. Leaves me with F#m, Bbm, C#, C#m .. feels like everything containing the sharpened root except Amajor.

Thanks a lot. I knew that the IVm and bVII where commonly used, but didn't really know why. Great videos as always.

Amazing

Thanks!

Finally new vid

Most excellent. Thank you for making this video. I will be playing more nuanced very soon. About 08:16. The Fmaj7 is an F6 (I heard the D, not E).

Thank you so much for all of your videos! They have been so incredibly helpful as I've been attempting to improve my piano skills. (Primarily a guitar player) Can you please expand a little more on how you're determining the functional role of the non-diatonic chords? I don't fully understand the process you're going through to assign them a function

Can you make a video on developing lines based on the idea of madal interchange that helps us get outside of the changes so to say?

Great lesson, as always! Could you make any Rachmaninoff's piece garmony analysis? Sorry 4 my englsih)

Great video. Thank you for explaining the bVI Maj has having sub dominant function. For some reason I assumed that it had.tonic function since it's the parallel minor vi to the major tonic VI.

Great idea to make a compilation of borrowed chords like this. The only (common) one I think you didn't mention is the bIII. Maybe a video of borrowed major chords in a minor context could also be interesting? Thanks again for the video!

Great lesson as always, Thank you. By the way what’s your virtual keyboard in display ?

Could you explain how that #4 chord is a tonic substitution? Little bit baffled by that one.

I wish this series had continued. What happened to part 7? Learning so much and argh... Some of those chords are so luscious I can see how one could get lost in this for years! And yet gives me motivation that learning these chords isn't out of reach!

How do you know the functional role of the borrowed chord?

Great lesson. Can you plz do some more on this tip. tritone sub would be amaze. Kind Regards, Petar

Omg this is soooooo goood! I wish one day I could play like you! Anyways, when is part 7 coming?

I like to look at f#-b5 B7 like a 2 5 of iii

Is there a seventh lesson? I can't find one.

How do you identify the function of these borrowed chords

Wil there be more of this ? Would be happy to pay for a complete course LOVE from Sweden !!

wow

You make these sound good and look easy. When you substitute, are you looking at common notes within the chords so that there are just a few variations from the original chord? My struggle with concepts like this is how do you decide which chord you're going to use for the substitution? Maybe you explained it, but it escapes me for some reason. Do you go for the V of a given chord, i.e., V/iii - iii so it leads into the next chord or just by chord make up? Sorry, I may not be clear on my confusion. I appreciate your video lessons though.

Two questions: 1. 9:40, isn't it so surprising since it C to F# is a tritone? 2. How do I find out which chords commonly tend to be borrowed like you showcased? Should I analyse more pieces?

Ha @ 10:57 the (#iv7b5....V7/iii) progression sounds like the same first two chords used in the traditional Western wedding ceremony tune. Thankyou Mangold Project - you've made this easy to understand, especially because you're always using the C major scale as the starting point.

dude! this is gold! and you share this for free!? who are you?

Great video, thanks a lot. Question; how do you discover the function of the chords you're borrowing? For instance, in your last example you're using bVImaj7 as sub-dominant. I understand that it comes from the harmonic scale in the parallel C. However, the VI in the C major scale (Am) has a tonic function, yet after borrowing it from the harmonic scale you used it as sub-dominant. How can we assess the function of the chords?

Is there any difference in use between a ii7b5 and a iv6? These would be the same notes inversion I think (d-f-a flat-c vs f-a flat-c-d)

👍

Anything that starts with a root any other key you can borrow chords from

AMAZING. Is there a way to know the function of any borrowed chord? I wouldn't have known that DbMAj7 is a domininant .... why does it work as a dominant? Because the root (Db) is the tritone sub?

Hi, at 11:00, I understand the B7 before the Em7 what why is there a b9? It sounds so cool, can you give the background as to why adding a b9 sounds better?

Hello, I want to ask you to advise me for choosing the 'right' keyboard for my playing. And since i have watched many of your lessons so far and understand you are quite an experienced teacher want to ask you for your opinion. Here's the deal : I will be getting my first proper keyboard and need an advice from more experienced keyboard players. I don't know whether to choose semi-weighted or hammer action for synth-funk, boogie, jazz, funk & soul style of playing. I will first share a bit about myself, so you have a better idea of what my purpose is. I am a bass player and my piano/keyboard skills are quite rudimentary at this point. I have only had a cheap 49 key MIDI controller and want to get a real standalone keyboard without having to use a computer to play. I come from funk / soul / jazz background (ehm, meaning my biggest passion and repertoire is in that kind of styles.) I want to learn to play funk style keyboards, boogie synth funk, which in its 'musical DNA' so to speak is gospel, fusion, jazz, disco funk, post disco , 80's ballad style. You know, all those sweet jazz voicings. So yeah, basically jazz & funk. I love bands and music such as Midnight Star, General Caine, Autumn, Dazz Band, Dayton, Paul Hardcastle, Kashif, BB & Q Band, High Fashion, D-Train, Shock, Slave, Angela Bofill, Teena Marie, Nu Shooz, late 80's smooth jazz and fusion artists like George Howard, Alex Bugnon, etc, as well as 70's jazz, funk and soul a la George Duke, George Benson, Narada Michael Walden, Harvey Mason, Ronnie McNeir, Azymuth, Mezzoforte, Asford & Simpson, the ocassional disco-funk divas like Evelyn Champagne King, Gwen Guthrie, Chaka Khan, Stephanie Mills .. you get the idea im deep into late 70s , 80s synth funk , boogie, jazz-funk, 80's fusion, but will be learning classical jazz piano as well and gospel piano style. I chose to get an Yamaha MOXF keyboard for that purpose. It has all the sounds i need at this point, plus ill get an analogue synth module that i will play from the MOXF. Now my concern is whether to get the 88-keys fully weighted 'hammer action' version - MOXF8 , or the semi-weighted 'synth-action' MOXF6. Yesterday i was at the local music store and played on the Yamaha MX88 , which shares the same kind of fully-weighted keybed as the MOXF8 - 'Grand Hammer Action' as defined by Yamaha. Could you advise me on what are the advantages and disadvantages of both version, because im having hard time of hesitation. On one side, I want to have a full 88 keys keyboard. To be honest, the fully weighted keys felt very high quality to me (not much experience) but is the hammer action going to be obstructive in some ways for the styles im interested learning of. I watch a lot of funk synth jams and those guys are doing some very fast runs. Is that going to be too hard on a fully weighted keyboard? Or it is just a matter of habit and getting used to it , it won't be a problem with a lot of practice [years of practice]. On the other hand - i see a lot of recommendations that if you're going to play funk, with synthesizer sounds, its better to get a semi-weighted keyboard. I understand that TIMING is different between semi- and piano- keybed. I suppose that semi-weighted keys allow better playing of rhythmic patterns, with greater accuracy. You know , 16th notes in funk are so important. Stuff like ornamentation, trills, glissando.Also velocity curves on fully-weighted keyboard would be harder to get exactly as i want them to feel, if i am not mistaken? Am i going to feel "limited" in my playing at some point, if i choose the 61 keys version of that keyboard ? Are two more octaves vital to jazz style of playing and jazz voicings. I did my homework and researched for weeks (meaning read a lot of opinions online, watched many videos) , and i have finally defined my main needs of of a primary keyboard and the type sounds i'm going to use. Probably i won't be using organ sounds at all. Mainly acoustic pianos, electric pianos, fm pianos DX7-style, clavi, rhodes, some brass and guitar sounds, and the MOXF has all of them (the Motif XF engine). So another 2 options that im also considering are 1. Getting the 88 version + a 61 semi-weighted MIDI keyboard for when i want to play synth-style. OR 2.Get the 61 semi-weighted keys + a 88 weighted MIDI keyboard. .This way i can have the 88 keyboard for piano learining and the 61 keyboard for the particular styles im interested in (with all the controls for the sounds). Will be very grateful for your insight! Also - i was looking for an option to send a PM, but couldn't find any this is why i post my question here in the comments. Thank you!

Is the term “ modal interchange/ mixture “ meaningful ? Does that simply mean that you can play any chord anywhere?? D is ii- Ionian, II- Lydian, bII- Phrygian etc.... what’s the point?? Thnx cheers

How should i practice these lessons to improve my playing?

Greetings!! Please tell For b2 maj7 usage as substitution for G7 at 13:42 which is parallel key it's borrowed from??

8:35 why there is a C note in the Bb7 chord?

Is there supposed to be a 'C' in the Bb7 chord @7:40 ??

Hi :) !! I'm a bit confused with notation of the iv6 ... Because yesterday I learnt augmented 6 chords and 6/4 cadence, in one examples it goes like that : iv6 / I (it6) / I (6/4) / V (then it resolves) but when they said iv6 in that context, it actually mean the iv minor chord in first inversion (right ?) On your vidéo (5:52) you used " iv6 " but in a dorian fashion, like a minor chord with a natural 6 ? Also if I understoof it clearly, in the context of C major, the iv6 could be seen as a borrowed chord from parralel C minor ? Is there a particular reason to think it is from C harmonic minor rather than C natural minor ? Maybe I'm missing something that's why I ask :) In any case your vidéos changed my life and my music, so thank you so much :D !

What about the flat 3rd? Is there any usable chord for this one?

Why can the #iv7b5 be used as a tonic function? Why isn't it a subdominant function?

For a second I thought I was watching fretjam's channel

Nice ...but you said the triads in Major....you should have mentioned the diatonic sevenths. Also use Roman letters in the non Classical way. I maj 7 IIm7 iv6 in some countries mean Fm in the 1st inversion..in C maj. In the last example C maj 7 is I maj 7 not ii7.. error

So in conclusion, if you want to borrow a chord, you should borrow a chord that fulfil the same function as the one you want to substitute?

Too much freedom? Isn’t that what music is about creativity and expressing emotion? I’m not that well versed on music theory but I feel like freedom is the most essential thing in music and is how jazz came to be in the first place

where were you born ?

You lost me at “hi guys”

Don't say "swap out" the "out" serves no function and it's not grammatically correct. No native speaker uses it although you'll hear ignorant Americans who are destroying our language using it. Just say "swap" " _we will swap this chord for that chord_ " While we are here: things are based *on* something and not off and certainly not off of (yuk puke vomit) . A base is what you put something *on* .