Relative Minors and vi degrees, etc...

[moley]

Originally posted by PanteraFan


This part doesn't as posted by Jazzbo:

"You see, C major (C-D-E-F-G-A-B) is a neat little major scale where A is the sixth degree and functions as such, (the importance of chord function cannot be understated). When you play modally, (A-B-C-D-E-F-G), you're not just playing a Cmajor scale from a different starting point, you're playing an Aminor scale, which is an entirely different thing. The 5 of this scale is no longer a dominant chord, it's a minor chord. The 2 is no longer a minor chord, it's a diminished chord. The 7 is no longer a diminished chord, it's a dominant chord."

I take this to mean they have the same notes, but different contexts/tensions. Unless the part about the chords changing their 'flavour' lines up with the original, i.e. the 7 of C Major(B) is a diminished chord, and the 2 of A Minor(B) is also a diminished chord. If that's the case then I can see how relative minors are related to their parent majors, as the chord 'flavours' stick to the specific notes in question.

But, yes - chord vii in C Major is minor(b5) - as is chord ii in A Minor. I'd say the chords tend to have similar flavours whether you're in the minor or the major. If you play chord vii in C, it's gonna sound like chord ii in A Minor - and will "want" to resolve to A Minor, if you see what I mean. Chord vii in C would often be used to modulate to A Minor - so playing a Bm7b5 in C would "want" to go E7 then Am (i.e. ii7-V7-i in A Minor).

 

[PanteraFan]

OK, thanks. I understand it now.

 

[moley]

No problem

 

[ConU]

''When I'm blowing,I'm not thinking scales,I'm thinking key centers,forward movement,that's telling a story...and that's what improv is all about"...Charles Ellison,Trumpet