![]() Keep practicing and reviewing these diatonic chords!īack to our relative major and minor key changes. With practice, these positions-which are currently independent and separate in your mind, ears and fingers-will blend into one large musical idea on the fretboard. Ultimately, this fluency is where we are headed in the StudyBass lessons. ![]() Imagine the creative possibilities if you were fluent in these four diatonic chord positions and learn to connect them into one larger idea. These connected positions are not the purpose of this lesson, but I like to give you glimpses of your bass-playing future. Many of you may not be ready for this giant full-fretboard position yet. (Tip: you can see and print complete scale diagrams with the fretboard printer in the tools section.) This works for every key as you might imagine. You now have diatonic chord positions in the keys of C major and A minor from the first fret to the fifteenth fret! And, the same patterns repeat up the fretboard until you run out of frets. Lastly, you see the A minor scale position with its tonic on the 12th fret of the A-string. Next is the C major position with the tonic on the 8th fret of the E-string. Next is the related A minor position on the fifth fret of the E-string. Notice the C major position with the tonic on the 3rd fret of the A-string. Here is a PDF with a diagram laying out the four related diatonic chord positions. You may or may not have tied this together yet, but the diatonic chord positions we have studied so far can be linked together very powerfully.īy connecting the four diatonic chord positions (two major and two minor) in relative keys, you cover the chords for both keys across the entire fretboard. Since we are discussing relative major and minor keys and their diatonic chords, I am going to diverge a little and point something out to you. Recognizing the major/minor shift may influence your approach to playing the different parts of the music. Depending on your knowledge of the keys and fingerings for the diatonic chords, it may lead you to choose one fingering position over another. It may help you to understand one part of a song as major and the other part as minor. ![]() If you don't know where your tools are in the workshop, building something is more difficult. In the end, if you are playing the chords as written, it won't matter if you recognize this relative key change or not.īut remember, music theory is there to help you organize your hearing and musical imagination. Other times, it may be too temporary to call it a key change. If a song's verse went Am-Dm-Am-Em and the chorus went C-F-G-G, the verse will sound decidedly minor and the chorus major. Sometimes the relative key change is very obvious and well-defined. It's the most subtle of key changes.įor example, a song's verse may center heavily around the key of A minor while the chorus revolves around C major. A very easy way to change the mood of a song is to change the harmony's center between major and minor. Since relative scales share the same notes, their diatonic chords are the same as well. Changing Between Relative Major and Minor A song in a major key comes to rest on the tonic of the major scale a song in a minor key comes to rest on the tonic of the minor scale. The difference between the relative keys is the starting note and “center” of the scale. You will remember that relative major and minor scales are major and minor scales which share the same set of notes.įor instance, C major ( C D E F G A B ) and A minor ( A B C D E F G ) are the same seven notes. We have discussed relative major and minor scales and keys a couple of times in the StudyBass lessons already. That is, one part of the song revolves around the major key while another revolves around the minor key. So far in this lesson block on extending the diatonic chord system we have discussed the use of secondary dominant chords.Īnother common occurrence in song chord progressions is changing between the relative major and minor key.
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