▁scales . ▁Ch ords ▁may ▁also ▁be ▁borrow ed ▁from ▁other ▁parallel ▁modes ▁besides ▁the ▁major ▁and ▁minor ▁mode , ▁for ▁example ▁D ▁Dor ian ▁with ▁D ▁major . ▁The ▁mixing ▁of ▁the ▁major ▁and ▁minor ▁modes ▁developed ▁in ▁the ▁Bar o que ▁period . ▁ ▁Bor row ed ▁ch ords ▁are ▁distinguished ▁from ▁mod ulation ▁by ▁being ▁brief ▁enough ▁that ▁the ▁t onic ▁is ▁not ▁lost ▁or ▁disp la ced , ▁and ▁may ▁be ▁considered ▁brief ▁or ▁trans itory ▁mod ulations ▁and ▁may ▁be ▁distinguished ▁from ▁secondary ▁ch ords ▁as ▁well ▁as ▁alter ed ▁ch ords . ▁According ▁to ▁She ila ▁Rome o , ▁"[ t ] he ▁borrow ed ▁ch ord ▁suggests ▁the ▁sound ▁of ▁its ▁own ▁mode ▁without ▁actually ▁switching ▁to ▁that ▁mode ." ▁ ▁Common ▁borrow ed ▁ch ords ▁ ▁She ila ▁Rome o ▁explains ▁that ▁"[ i ] n ▁theory , ▁any ▁ch ord ▁from ▁any ▁mode ▁of ▁the ▁scale ▁of ▁the ▁piece ▁is ▁a ▁potential ▁modal ▁inter change ▁or ▁borrow ed ▁ch ord . ▁Some ▁are ▁used ▁more ▁frequently ▁than ▁others , ▁while ▁some ▁almost ▁never ▁occur ." ▁▁ ▁In ▁the ▁minor ▁mode , ▁a ▁common ▁borrow ed ▁ch ord ▁from ▁the ▁parallel ▁major ▁key ▁is ▁the ▁Pic ard y ▁third . ▁▁ ▁In ▁the ▁major ▁mode , ▁the ▁most ▁common ▁examples ▁of ▁borrow ed ▁ch ords ▁are ▁those ▁involving ▁the ▁, ▁the ▁lower ed ▁sixth ▁scale ▁degree . ▁These ▁ch ords ▁are ▁shown ▁below , ▁in ▁the ▁key ▁of ▁C ▁major . ▁ ▁The ▁next ▁most