Borrowing Chords from parallel modes

Written by Bill Richardson, the author of Melodic Fusion Guitar.

Base on Lick Library By Tom Quayle.
All those borrowed chord came from same root note.
Example: Let's say Lydian. We can borrow chord from C Lydian, if we going to use Phrygian we
going to borrow chord from C Phrygian so on so for. Let's take 2 chord from the Key of C (use
cadence for Phrasing).
Say it was: CM7 - - - FM7
Now there is no more M7 chord in the key of C then We going to borrow it from another scale
with same mode say Phrygian. C Phrygian is parallel to C Major Scale because it has same root
in C but C Phrygian came from Ab Major Scale. Then identify some M7 chord from Ab Major
Scale there are AbM7 and DbM7 chord that has the M7 chord quality. If we use AbM7 it called
chromatic substitution. Let's we just use DbM7, then we have
CM7 - FM7 - - DbM7
Let's we take a look at C Dorian scale which is mode 2 of Bb Major. Then we have BbM7 and
EbM7. Lets use EbM7 then we have
CM7 - FM7 - EbM7 - DbM7

Since We us parallel minor modal with C Phrygian and C Dorian, we now can use minor scale
such as minor pentatonic or etc. For these two borrowed chord from parallel minor mode.
Example, use A minor pentatonic mode which is relative minor of C Major for these 2 first
chords for the next 2 chord lets just use C minor pentatonic because its came from parallel
minor mode.

Comparing both we have,

# Now for instant, use these voice leading (3 and 7) note for every chords.