SWARSHALA — BORROW ONE CHORD, KEEP THE PHRASE VISIBLE
Original worksheet and answer key · 2026-10-03
Guide: https://swarshala.com/blog/borrow-chords-from-parallel-minor

CONVENTION
Uppercase = major triad, lowercase = minor. A flat before a Roman numeral
lowers its ROOT relative to the prevailing major scale; it is not always
a literal flat in the resulting note name. One borrowed chord does not
by itself prove a new tonic. No universal emotional effect is assumed.

TASK A — COMPLETE ORIGINAL EIGHT-BAR HARMONY PAIR
Supplied key: C major. Metre: 4/4. At the start of each bar, sound/hold
the specified simultaneous notes for four quarter-note beats. Read once;
stop after bar 8. Middle C = C4. This can be completed as a paper exercise.

Bar:        1   2   3   4   5   6   7   8
Version A:  C   G7  C   F   G7  C   G7  C
Version B:  C   G7  C   Fm  G7  C   G7  C

Exact pitches, low to high:
Bars 1,3,6,8 (both versions): C3 E3 G3 C4.
Bars 2,5,7 (both versions): G2 B2 D3 F3.
Bar 4 version A: F2 A2 C3 F3.
Bar 4 version B: F2 Ab2 C3 F3.

1. Label both entire rows with Roman numerals.
2. Name every changed pitch and every unchanged parameter.
3. Which surrounding chords support continuing C major?
4. Why spell the changed note Ab instead of G#?

TASK B — SPELL THE BORROWED CHORD
1. In G major, compare IV and borrowed iv.
2. In D major, use D natural minor to build flat-VI.
3. In E major, build flat-VI. Why is its root not written with a flat?
4. Spell each chord in D | G | Bb | A7 | D, one four-beat chord per bar,
   supplied key D major. Label the complete row.

TASK C — BORROWING OR A SECONDARY TARGET?
Supplied C major, one four-beat chord per bar in each snippet:
A: C | Fm | G7 | C
B: C | D7 | G | G7 | C
Spell Fm and D7. Identify the parallel-minor chord and the secondary
dominant. Name the secondary target and explain the larger return to C.

ANSWER KEY
A1. I V7 I IV V7 I V7 I; I V7 I iv V7 I V7 I.
A2. Only A2 changes to Ab2. F2 C3 F3, all durations, bar placements,
and every note in the other seven bars stay fixed.
A3. Repeated G7-C returns at bars 2-3, 5-6 and 7-8; C-major chords
retain E natural. No sustained new passage establishes C minor.
A4. It remains the third of F and is lowered degree 6 of C major.
B1. C E G becomes C Eb G; E is lowered to Eb.
B2. D natural minor: D E F G A Bb C. flat-VI = Bb D F.
B3. C E G. Degree 6 of E major is C#; lowering it gives C natural.
B4. D F# A; G B D; Bb D F; A C# E G; D F# A.
Labels: I IV flat-VI V7 I. The final A7-D supports the supplied D major.
C. Fm = F Ab C, borrowed iv; its label names no secondary tonic target.
D7 = D F# A C, V7/V, targeting G. F# is absent from C natural minor.
Both snippets return through G7 to C; a local target does not by itself
establish a lasting modulation. Actual context matters beyond one chord.

BEFORE/AFTER FORM FOR A NEW PAPER EXAMPLE
Supplied prevailing key:
Complete before phrase with durations:
Complete after phrase with durations:
Exact changed members:
Parallel collection supplying the chord:
Roman label and prefix convention:
Surrounding evidence for the continuing tonic:
Any missing context or alternative reading:

SOURCES
https://musictheory.pugetsound.edu/mt21c/ModeMixtureSection.html
https://musictheory.pugetsound.edu/mt21c/AnalyzingAndWritingBorrowedChords.html
https://musictheory.pugetsound.edu/mt21c/Tonicization.html
All phrases and pitch specifications here are original. This worksheet
does not claim a listening, instrumental or human specialist test.