Musical Chord
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Relative and Anti-Relative Chords
Relative chords are a fundamental concept in music theory that allows musicians and composers to create interesting and cohesive harmonic progressions. This article will discuss what relative chords are, how to identify them, and how to use them in musical practice. Understanding relative chords is essential for anyone interested in music theory, whether beginner or advanced.
When considering the C7M chord (C major with a major seventh), its relative chord is Am7 (A minor with a seventh) and the anti-relative is Em7 (E minor with a seventh). This relationship is based on the similarity of notes between the chords. Analyzing the notes of each chord, we have:
- C7M: C, E, G, B
- Am7: A, C, E, G
- Em7: E, G, B, D
It can be observed that the Am7 chord shares three notes with the C7M (C, E, G), as does the Em7 chord (E, G, B). This overlap of notes demonstrates the intimate connection between these chords, differing by only one note. This harmonic proximity makes relative and anti-relative chords valuable tools for creating melodic variations and smooth transitions in music.
Finding the Relative Minor
To find the relative minor chord of a major chord, go down a minor third (three semitones) from the tonic of the major chord. Similarly, to find the relative major of a minor chord, go up a minor third from the tonic of the minor chord. Example:
- C (C major) -> Am (A minor)
- G (G major) -> Em (E minor)
Finding the Relative Major
To find the relative major chord of a minor chord, go up a minor third (three semitones) from the tonic of the minor chord. Similarly, to find the relative minor of a major chord, go down a minor third from the tonic of the major chord. Example:
- Bm (B minor) -> D (D major)
- Dm (D minor) -> F (F major)
Finding the Anti-Relative Minor
To find the anti-relative minor chord of a major chord, go up a major third (four semitones) from the tonic of the major chord. Example:
- C (C major) -> Em (E minor)
- F (F major) -> Am (A minor)
Finding the Anti-Relative Major
To find the anti-relative major chord of a minor chord, go down a major third (four semitones) from the tonic of the minor chord. Example:
- Am (A minor) -> C (C major)
- Em (E minor) -> G (G major)
Table of Relationships for Triads
| Relative Minor | Principal Chord | Anti-Relative Minor |
|---|---|---|
| Am (A, C, E) | C (C, E, G) | Em (E, G, B) |
| A#m (A#, C#, E#) | C# (C#, E#, G#) | Fm (F, Ab, C) |
| Bm (B, D, F#) | D (D, F#, A) | F#m (F#, A, C#) |
| Cm (C, Eb, G) | D# (D#, G, A#) | Gm (G, Bb, D) |
| C#m (C#, E, G#) | E (E, G#, B) | G#m (G#, B, D#) |
| Dm (D, F, A) | F (F, A, C) | Am (A, C, E) |
| D#m (D#, F#, A#) | F# (F#, A#, C#) | A#m (A#, C#, E#) |
| Em (E, G, B) | G (G, B, D) | Bm (B, D, F#) |
| Fm (F, Ab, C) | G# (G#, C, D#) | Cm (C, Eb, G) |
| F#m (F#, A, C#) | A (A, C#, E) | C#m (C#, E, G#) |
| Gm (G, Bb, D) | A# (A#, D, F) | Dm (D, F, A) |
| G#m (G#, B, D#) | B (B, D#, F#) | D#m (D#, F#, A#) |
Table of Relationships for Seventh Chords
| Relative Minor | Principal Chord | Anti-Relative Minor |
|---|---|---|
| Am7 (A, C, E, G) | C7M (C, E, G, B) | Em7 (E, G, B, D) |
| A#m7 (A#, C#, E#, G#) | C#7M (C#, E#, G#, B#) | Fm7 (F, Ab, C, Eb) |
| Bm7 (B, D, F#, A) | D7M (D, F#, A, C#) | F#m7 (F#, A, C#, E) |
| Cm7 (C, Eb, G, Bb) | D#7M (D#, G, A#, D) | Gm7 (G, Bb, D, F) |
| C#m7 (C#, E, G#, B) | E7M (E, G#, B, D#) | G#m7 (G#, B, D#, F#) |
| Dm7 (D, F, A, C) | F7M (F, A, C, E) | Am7 (A, C, E, G) |
| D#m7 (D#, F#, A#, C#) | F#7M (F#, A#, C#, E#) | A#m7 (A#, C#, E#, G#) |
| Em7 (E, G, B, D) | G7M (G, B, D, F#) | Bm7 (B, D, F#, A) |
| Fm7 (F, Ab, C, Eb) | G#7M (G#, C, D#, G) | Cm7 (C, Eb, G, Bb) |
| F#m7 (F#, A, C#, E) | A7M (A, C#, E, G#) | C#m7 (C#, E, G#, B) |
| Gm7 (G, Bb, D, F) | A#7M (A#, D, F, A) | Dm7 (D, F, A, C) |
| G#m7 (G#, B, D#, F#) | B7M (B, D#, F#, A#) | D#m7 (D#, F#, A#, C#) |
Conclusion
In practical context, mastering relative and anti-relative chords improves the ability to improvise, compose, and arrange. Musicians who understand these concepts are able to create smoother transitions, add harmonic interest, and explore modulations more effectively. Furthermore, deep knowledge of these harmonic relationships facilitates communication between musicians, enabling more fluid and creative collaborations.
In summary, knowing and applying relative and anti-relative chords not only enriches a musician's harmonic vocabulary but also opens up a vast field of possibilities for musical creativity. It is an essential skill for anyone wishing to deepen their understanding of music and explore new sonic frontiers.
In the harmonic field, each chord plays a specific role that contributes to the harmonic progression and tonal structure of the music. Principal chords, such as tonics, dominants, and subdominants, establish the foundation upon which melodies and harmonies are built. Replacing these chords with their relatives or anti-relatives can dramatically alter the color and emotion of the music, offering new harmonic directions and sonic textures.
Reharmonization, which is the practice of substituting original chords with other harmonically functioning chords, greatly benefits from the knowledge of relative and anti-relative chords. By reharmonizing a piece, a musician can maintain the melodic essence while exploring new harmonic possibilities.