{"id":145,"date":"2007-12-20T07:00:09","date_gmt":"2007-12-20T13:00:09","guid":{"rendered":"http:\/\/iamanoffering.com\/blog\/2007\/12\/20\/practical-music-theory-tips-4-relative-minor-chord\/"},"modified":"2011-03-12T20:02:46","modified_gmt":"2011-03-13T02:02:46","slug":"practical-music-theory-tips-4-relative-minor-chord","status":"publish","type":"post","link":"https:\/\/iamanoffering.com\/blog\/practical-music-theory-tips-4-relative-minor-chord\/","title":{"rendered":"Practical Music Theory Tips #4 – Relative Minor Chord"},"content":{"rendered":"

So, we’ve looked at basic triads<\/a>.\u00a0 We’ve looked at inverting those triads<\/a>.\u00a0 We’ve also looked at weird chord suffixes<\/a> that can help us extend our chords a little bit.\u00a0 Let’s look at the other most common chord in popular music: the relative minor or vi (six) chord.<\/p>\n

Finding the Relative Minor Chord<\/h3>\n

Each major key signature has a corresponding (relative) minor key with the same signature.<\/strong> You can find the relative minor of a major key in two ways:\u00a0 count up six steps beginning with the tonic (first note) of the scale.\u00a0 So, in the key of C, we would start with C and count up six steps to A.\u00a0 Building our basic triad (A, skip, C, skip, E) gives us a minor chord now, instead of the major chords we looked at earlier in the week.<\/a> This chord is root chord of C’s relative minor key, A minor.\u00a0 A minor has the same key signature as C major, no sharps or flats.<\/p>\n

The other way to find the relative minor is count down a minor third (or 3 half steps) from the first note of the scale (not including the first note).\u00a0 In the key of C major we would count down B to Bb\/A# to A.\u00a0 We’ve landed on A, which tells us that A minor will be the relative minor of C major.<\/p>\n

Using the Relative Minor Chord<\/h3>\n

So why do we care, as worship leaders? \u00a0 For one thing, the vi (six) chord, which is the same as the root chord in the relative minor key is found in almost every single worship song there is.\u00a0 It is good to know how to play it.\u00a0 Secondly, the vi (six) chord can act as a sort of “trick” ending (the fancy term is “deceptive cadence”).<\/p>\n

Because the I (one) chord (in C, C-E-G) and the vi (six) chord (in C, A-C-E) share two notes, they can often be used interchangeably. \u00a0 If the song ends on the root note of the key (in our case, C), either chord could be played.\u00a0 If the vi (six) chord is played, the ear realizes that the song is not done yet, because the music did not end on the root chord<\/strong> of the key, even though the melody ended on the root note<\/strong> of the key.<\/p>\n

This is especially helpful when a worship leader wants to repeat the last phrase of a song, but wants to add some variety.\u00a0 Instead of ending on the I (one) chord and repeating the exact same thing, the worship leader has the band “trick” end on the vi (six) chord and then repeat the last phrase, ending on the I (chord)<\/p>\n

Whew.\u00a0 That was a lot of info!\u00a0 Hopefully it all made sense.\u00a0 Leave questions and comments if it didn’t.\u00a0 Also, for more visual learning and some fantastic training excercises, visit musictheory.net<\/a>.\u00a0 I highly recommend this great, free site for training yourself in music theory.<\/p>\n