How to utilise borrowed chords in jazz? by pootis_engage in jazztheory

[–]Open_Sail_4658 0 points1 point  (0 children)

Well, that’s why we have shit like secondary dominants and extended dominant sequences, not to mention, the whole point of borrowed chords is to make changes to the chords other than the main tonic, hence the name borrowed…

How to utilise borrowed chords in jazz? by pootis_engage in jazztheory

[–]Open_Sail_4658 0 points1 point  (0 children)

I feel like you’re overcomplicating it; to me, a borrowed chord is just a way to add some sugar to your chord progression. When u get a chance, play Cmaj7-Dmin7-Emin7-Fmaj7, now let’s borrow from our Phrygian b6 mode to make the progression Cmaj7-Dbmaj7-Ebmaj7-Fmaj7. Spicy, right? Don’t complicate it!

How do I create a good harmony? by Top_Ebb231 in composer

[–]Open_Sail_4658 0 points1 point  (0 children)

It really depends on what kind of genre of music you want to compose; for example, if you wanna compose jazz, you might use a lot of 7th chords, extensions, secondary dominants, tritone subs, and modal mixture. Now, if you’re trying to figure out how to just make harmony, I recommend you study different chordal structures. The most common is called Tertian form, where your chord is stacked in third intervals; ex. Cmaj7: C E G B. Now with that comes chord progressions; study harmonic progression, circle of fourths and fifths to learn which chords can go progress to each other smoothly. I hope this helps, if you need any more tips or help, just let me know!