![]() ![]() The number of flats doesn't match in that case. Example, the Bb7 chord uses two flats and is the dominant of Eb major, but Eb major uses three flats. If that is sort of what you were thinking, the formula won't work for all chords/keys. But, that doesn't make C7 and F equivalent chords. I think you may be fixing up relative major/minor and equivalent with some way to know a particular chord belongs to a particular key.Ĭ7 does indeed have one flat, and so does the key signature for F major, and the tonic chord of F major is the F major chord. if you have a C7 chord, which has one flat, making it the equivalent of an F Major chord Even in that case you should say substitution rather than equivalent. For example, an Am chord could substitute for a C major chord. I have seen some people suggest that relative chords can be used for substitutions. The term equivalent is usually used for enharmonic equivalent which is a very different meaning. If you don't know A to C is minor third (and not a major third) you won't be able to find relative pairs.Īs mentioned in comments, you should refer to these relationships as relative rather than equivalent. Of course all of this relies on knowing the intervals of the musical alphabet. ![]() So it's fairly easy to say that B minor and D major are relative scales without knowing the key signatures (we know this because the tonics are a minor third apart) but it's very helpful to know that both scales have F# and C#. However, I think it may best best to know relative scales by their shared key signatures for the sake of know the specific tones in each scale. The relative scale pairs are a (natural) minor scale below a major scale with the tonics separated by a minor third. You can apply the same rule for chords to scales but swap out the term root (for chords) with tonic for scales. It's nice to know that about the relationship to the keys, but it isn't absolutely necessary. In fact, you will notice that pair C & Am in C major flip their order to Am & C in A minor when we take note of the tonic and mediant chord identities in the key. The example above shows relative chord pairs - C & Am, G & Em - we don't really need to know the keys that are indicated before the Roman numerals. Relative chords are always a minor triad below a major triad with the root separated by a minor third. Is comparing the key signatures the only way to quickly find a relative chord? ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |