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Strict diatonic note and chord selection provides a gigantic amount of possibility for song-writing and solo'ing; however, it still places us inside a box that we occasionally want to escape. The simplest way Non-diatonic chords allow us to do this is so. For any key, the possibilities for non-diatonic chords are huge. We limit ourselves to a few popular examples listed below. These fall under one of a few categories. * ''Tonicizations'borrow' use diatonic chords from other keys to temporarily alter the tonic center of the harmony.* ''Borrowed chords'' use diatonic chords or notes from other scaleskeys with the same tonic note.* ''Chromatic chords'' cover all remaining cases. They maintain the tonic note but are non-diatonic to all the standard parallel keys/keysmodes. They borrow from the chromatic scale, which allows any possible chord to be formed.
== PreReqs ==
* [[7th Chords]]
== Tonicizations ===== Secondary Dominant ===
<small>''also called borrowed dominant''</small>
The most common borrowed chord is the V (or V7) of V chord, commonly notated as ''V/V'' or ''V7/V''.
=== Other Secondary Harmonies ===
===Notation===
Notice that both progressions feature D - G. In G Major, it's V - I. In C Major, it's V/V - V. G Major is built on the fifth note of C Major; it is the ''V key''. In both progressions they contain the same basic dominant-resolution feel, yet by occurring at different parts of the V/V - V - I progression, they serve somewhat different functions.
== Parallel Major/Minor Borrowed Chords ==
Chords can also be borrowed from the parallel major/minor of the current key.
=== Picardy Third ===
== Chromatic Chords ===== Augmented Sixth Chords ===
===== Italian =====
===== German =====
===== French =====
=== Neapolitan Chord ===
=== Chromatic Mediant Mediants ===
== Homework ==