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Section 29.2 Voice Leading Borrowed Chords

Borrowed chords, or chords making use of mode mixture, are handled similarly to their diatonic versions in terms of voice leading, e.g., \(\left.\text{ii}^ø{}^{7}\right.\) is handled similarly to \(\left.\text{ii}^{7}\right.\). In any of the borrowed chords with ♭\(\hat{6} \), resolve this tendency tone down by step whenever possible.
Figure 29.2.2. Resolving ♭\(\hat{6} \) down when voice leading borrowed chords
Another situation where you may encounter a borrowed chord is the \(\left.\text{V}\right.\)–♭\(\left.\text{VI}\right.\) cadence, which should be handled the same as the deceptive cadence in minor (see Principle 26.7.4)—resolve the 3rd of the \(\left.\text{V}\right.\) chord up by step and move the other two voices in contrary motion to the bass.
There are no specific rules for other borrowed chords such as ♭\(\left.\text{III}\right.\), ♭\(\left.\text{VII}\right.\), \(\left.\text{i}\right.\), and \(\left.\text{v}\right.\); simply voice lead them as smoothly as possible while avoiding objectionable parallels.