## Section19.3Analyzing and Writing Borrowed Chords

Unlike secondary chords, you merely note the root, quality, and inversion of a borrowed chord in your Roman numeral analysis.

So, for the following chord: Notice that the root is A when you stack the notes in 3rds, and A is $\hat{2}$ in G major. The quality is half–diminished since the 3rds stack as m3–m3–M3, making this a $\left.\text{ii}^ø{}^{7}\right.$ chord. Since C, the 3rd of the chord, is in the bass, the correct analysis is $\left.\text{ii}^ø{}^{6}_{5}\right.$.

To write a borrowed chord from a Roman numeral, be sure to pay close attention to the quality of the Roman numeral.

A: ♭$\left.\text{VI}\right.$

♭$\left.\text{VI}\right.$ is built on ♭$\hat{6}$ . Determine ♭$\hat{6}$ in A major, which is F♮, then stack 3rds in the configuration M3–m3. The resulting triad contains F♮–A–C♮. Be careful of flats before Roman numerals. Flats mean to lower a root a m2 in the key signature, not to literally put a flat in front of the root of a chord.