In practice if I was accompanying 'Jingle Bells' in a jazz style I would probably play F7 Bb7 C (or Em7 followed by A7) creating a 'Back door' II V I, but if I was soloing over it I would think 'minor II V I in C' giving a rare opportunity to use G locrian mode over the F minor . . .Originally Posted by bj
Just tried it and it actually needs an E7b9, not an Em7, so I get
X8786X - F7 - "Oh what"
68676X - Bb7 - "fun it"
X7676X - E7b9 - "is", X7675X - E7 - "to"
57565X - A7 - "ride on a"
X5455X - D9 - "one . . . "
Some examples of the iv minor.
The O'Jays?
(Fm) Don't take (C) away the (Fm) Music (C)
Radiohead-Creep
G B7 C Cmin
The Beatles; There are (A) places (E) I'll re(F#m)member (A7) all my (D) liiii (Dm) iiife though (A) some have changed.
Eric Carmen-All By Myself
(A) When I was young I never (Dm) needed any (A) one.
Don McClean- Crying
(C) I was alright for a while, I could smile for a while. But I saw you last night you held my (C+) hand real tight, and you (F) stopped to say (Fm) hello.
Oasis-Don't look back in anger
(F) So I'll start a rev (Fm) olution from my (C) bed.
The Entertainer- Scott joplin (near the end of the A section)
C C7 F Fm C G7 C
Pink Floyd-Nobody home
(C) I've got electric light (C7) and I got second sight I got a (F) mazing (Fm) powers of obser (C) vation
Stereophonics -Have a Nice Day slide solo
B A B A Am E
Neil Sedaka- The hungry years
(A) Girl we made it to the top we (Dm) went so high , we couldn't stop.
Also right at the end
So don't look (F) back in anger, don't look (Fm) back in anger I heard you (C) say
Jar of Hearts by Christina Perri has a really prominent IVm - for me it spoils what is otherwise a fantastic song!
collecting your (Eb) jar of hearts (Ebm) tearing love apart (Bb)
Last edited by bj; 31st October 2011 at 09:30 PM.
The wikipedia article
http://en.wikipedia.org/wiki/Borrowed_chord
is fairly succint and clear.
A interesting example of this is Ella Fitzgerald's 'Everytime you say goodbye' where this progression occurs on the lyric, 'but how strange this change / from major to minor'.
I can just see Liam saying to Noel "really clever r'kid the way you used the fookin' modal interchange there"...
DId George Harrison do this in "When we were fab" too?
This is a great explanation. I wouldn't call this a modulation because the song isn't changing key. Rather, it's an altered chord (meaning a chord that uses notes not present in the current key), and it's borrowed from the relative minor. This works well because the two keys are closely related, but the reason the IV is changed to a iv so frequently is probably for another reason...
Generally, a chord borrowed from the relative minor will retain its function. So in the key of C major, that F major is a IV chord, and it acts as a pre-dominant, or a dominant preparation, and tends to want to move toward the V chord before resolving back to the I. If we take the F minor from the key of C minor instead, that chord would be a ii chord, which is also a dominant preparation chord. Even though it's the ii from a different key, it still wants to resolve to the V in the key of C major. This means that even though we're changing the IV into a minor chord, it still retains the same function.
In a sense, you're extending the IV chord function. This is very similar to what happens when you move from the I to the vi. Both chords generally act as a tonic chord. I is the tonic in a major key, and vi is the tonic in the relative minor. When you play I - vi, the progression doesn't really move forward the way it would if you played I - IV - V. By moving from I - vi, you're extending the I chord without playing the same chord for another bar. That's basically the same thing that happens when you move from IV to iv. You're just extending the function of the chord without playing the same chord for another bar.
The Beatles used this quite a bit. Examples include, 'Lucy in the Sky with Diamonds' and 'Dear Prudence'.
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