This post is one of a 2-part series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
Relative chord notation allows us to replace the actual note names used in chord symbols with generic names, just as we refer to scale notes as degrees (1st, 2nd, etc.).
By using relative chord notation we can play a piece in any key, regardless of what key it was written in. It’s also a great learning and analysis tool; a way to clearly see the relationships between the chords.
Scale Degrees
In B13. Degrees Of A Scale: Relative Note Names we saw that we can use degrees to represent scale notes.
This can be confusing, as degrees are also used for interval names.
One solution, developed back in the 17th century, is to write scale degrees as capital Roman numerals. This practice is still in use today.
Each scale degree also has a name to reflect the function of the note within the scale.
Function?
The function of a scale note is how that note acts within the scale. Once you see the list, you’ll realise that the function is pretty self-evident based on where in the scale the note is…
For example, the tonic is the first note, the Root note. It’s function is to establish a tonal reference for the scale… in other words, the reference pitch on which the scale is built.
Scale Degrees and Their Functions
I (1st) Tonic
The tonal reference: the starting note of the scale.
II (2nd) Supertonic
The note after the Tonic.
III (3rd) Mediant
The most significant difference between major and minor modes. It is also half-way between the Tonic and the Dominant.
IV (4th) Subdominant
The root note of the previous key in the cycle of 5ths: a strong note for melodies to visit.
V (5th) Dominant
The root note of the next key in the cycle of 5ths: a strong note for melodies to visit. It is also a harmonic of the Tonic, so it reinforces the tonality of the scale. The Dominant is the most important note in the scale besides the Tonic
VI (6th) Submediant
Another clue to whether the key is major or minor.
VII (7th) Subtonic
The note before the Tonic (when 2 semitones below the octave).
VII (7th) Leading note
The note that leads up to the next octave of the Tonic (when 1 semitone below the octave).
Note that the 7th has two different names, depending on whether it’s the major 7th or minor 7th. This is due to a long-standing cultural trend in Western music.
The Rise of the Leading Note
As music developed away from the sombre sounds of medieval Church modes there was an increasing desire for a sweeter, warmer sound. This was the sound of what we now call the major scale, a mode frowned on by the Church.
The single feature that most contributed this sweetness in a melody is that when you go up in a major scale, the last interval, from the 7th to the octave, is only 1 semitone.
Aside: only one other traditional Western mode finishes with 1 semitone and that’s the Lydian mode, which can be described as “more major than major”. It’s not a very popular mode as an overall key in most genres because it has an augmented 4th, which interferes with the relationship between perfect 5ths and perfect 4ths that underpins much of Western music.
When ascending, this close interval between the 7th and octave gives us a sense of arrival. The major scale feels like it arrives at a comfortable conclusion – you could say that the major 7th leads to the octave more conclusively than the minor 7th.
Hence, the major 7th is called the leading note whereas the minor 7th is called the subtonic.
Listen to the scales of A major and A minor as melodies. Do you feel that the major 7th leads more directly to the octave than the minor 7th?
A major
A minor
Melodic and Harmonic Minor
The leading note is such a significant feature in Western music that over time, the melodic and harmonic minor scales evolved; the former allowing a major 7th to occur in a minor melody and the latter allowing the chords to be able to accommodate this.
Melodic and harmonic minors, or a combination of both, are far more commonly used in most genres than the natural minor. For a reminder of melodic and harmonic minor scales, please visit B3. Melodic And Harmonic Minor.
Relative Chord Names
We can also use function names and Roman numerals to represent chord names. By using both upper case and lower case numerals, we can describe both major and minor triads without the need for a quality.
- Upper case = major chord
- Lower case = minor chord
In any given key, the most commonly used chords are built on the 1st, 4th and 5th notes of the scale; the tonic, subdominant and dominant.
In a major key, the tonic, subdominant and dominant chords are all major chords:
I, IV and V
In C major, that’s C, F and G (all major chords).
In a minor key the tonic and subdominant chords are minor but, thanks to the harmonic minor, the dominant chord is usually major:
i, iv and V
In C minor, that’s Cm, Fm and G.
You can tell whether the overall key is the major or minor key of the key signature by the tonic chord. If the tonic chord is major, the key of the piece is major. If it’s minor, the key is minor.
Part of the reason why these chords fit so well together is because all of their notes belong to the overall key. If you know the key signature, you can just count letters to find the notes of each chord.
Try These…
The following chords are written as Roman numerals. Convert the numerals to actual chord names based on the overall key.
Remember, an upper case numeral is a major chord and a lower case numeral is a minor chord.
- Each exercise contains the tonic, subdominant and dominant chords
- Look for the tonic chord:
if it is uppercase, the piece is in a major key
If it’s lower case, the piece is in a minor key - Use the key signature to work out the name of the key and thus the tonic chord
- For the other chords, count degrees in the appropriate scale until you match the Roman numeral
- Write the chords above the stave using standard chord names
*For bonus points, you can also list the content of each chord, either on the stave or as text.
For example,
For the key signature of one sharp, F#, the key is either G major or E minor.
If I is uppercase, it’s in G major. If i is lowercase, it’s in E minor.
- in G major, I = G, IV = C, V = D
- in E minor, i = Em, iv = Am, V =B
Answers at the end of this post.
Relative chord names can also have a suffix. Any chord symbol can be written using a Roman numeral instead of a note name, such as V7 or I(sus 4).
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NEXT LESSON: B20. The 6 Most Useful Chords In Any Major Key
PART 2 CONTENTS: Basic Music Theory Course Contents
Answers to Try These…
1)
I = A (A C# E)
IV = D (D F# A)
V = E (E G# B)
2)
I = Bb (Bb D F)
IV = Eb (Eb G Bb)
V = F (F A C)
3)
i = Dm (D F A)
iv = Gm (G Bb D)
V = A (A C# E)
4)
i = Bm (B D F#)
iv = Em (E G B)
V = F# (F# A# C#)