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Just an interesting observation I’ve come across a few times in Brian’s lessons. I guess because of musical symmetry it turns out that,
a Major 6th chord has the same notes as the relative minor chord of the same key (ie. the chord formed from the 1,3,5 starting on the 6th note of the key).
eg. A6 has the same notes as Cmin
Anybody (esp @Duffy), are there other examples of equivalent chords like this?
John -
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The equivalent you are talking about is the maj6 and the relative minor7th. For example, C6 is c e g a, and Amin7 is a c e g.
There are lots of others. The most famous, and most useful is the dom7b5 relationship. A C7b5 chord has the same notes as a Gb7b5 chord. C E Gb Bb.
And the other most useful relationship is the equivalence of dim7 chords. There are only four dim7 chords. A c dim chord is C Eb Gb Bbb (same as A). The Eb, Gb, and A diminished chords all have these same pitches. This means you can move any diminished chord up the neck three six or nine frets and it will still work. It has other deeper implications too. A B7b9 chord is the same as a Cdim with a B in the base.
Another equivalence is a minor6 chord is the same as a half diminished chord a minor third below. Thus G minor 6 is the same as E half diminished (also called min7b5). This gets more interesting, when you see how similar the min6 is to the dom7 a fourth above – a Gmin6 is almost the same as a C9, just a shift in the bass.
Finally all sorts of interesting things happen when you start moving upper extensions into the bass. A g triad with an A on top is a G add 9 chord. Put the A into the Bass, and it’s an Asus chord. The more extensions you add to the chord, or the more alterations, the more ambiguous they become, and then what chord they are depends mostly on what the bass player is playing, and where the chord is resolving to.
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