Modal interchange is the borrowing of chords from another key center. Parallel minor modal interchange chords are chords that are borrowed from the parallel minor usually in a major key context. We see this concept in action in Taylor Eigsti's introduction to his tune "Midnight After Noon" on his recording "Daylight at Midnight" as demonstrated in the course, Artist Voicings: Taylor Eigsti.
In the eighth and ninth measures he plays beautiful drop 2 voicings over F#-7 and Emaj7, two chords that are not found in C# major, the key of the tune. Listen to it at 0:24.
These chords are, however, found in the parallel minor key of C# minor (same key signature as E major, four sharps).
By borrowing these chords from the parallel minor key he is able to incorporate harmonic interest with the additional chromaticism not available with just the diatonic chords of the major key.
This is a common technique used in many tunes. Cole Porter's "Night and Day" is perhaps the most conventional example of parallel minor modal interchange chords. The tune is in C major but the first two chords, D-7b5 and G7b9, are the i-7b5 and V7b9 chords borrowed from C minor.
George Gershwin's "Embraceable You" uses these same chords too.
Tadd Dameron's "Lady Bird" borrows the iv-7 and the bVIl7 from C minor.
To learn more about these chords watch the Artist Voicings: Taylor Eigsti course. Three voicing techniques from the beautiful solo piano introduction to Taylor Eigsti's tune "Midnight After Noon" from his 2010 Concord Records release, "Daylight at Midnight," are examined in this course: a dramatic voicing without a third, an ascending major chord line cliche and rich drop 2 voicings. Learn how he uses them, the theory that makes them work and strategies for incorporating these devices into your own playing.
Check out the entire tune on Taylor Eigsti's 2010 Concord Jazz release "Daylight at Midnight."
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