Relative minor Am

The change between C major and A minor (Am for short) is even easier than the change between G and Em.
Only one finger is moved between C major and Am.
This makes it very easy to remember that Am is the relative minor to C.


	Key G major with minor parallels

From C to Am and back


From C to Am Index and middle fingers stay in place Ring finger under middle finger Done!		From Am to C Index and middle fingers stay in place Ring finger pointing slanted upwards Done!

$\version "2.20.0" \header { title="Campfire stroke C Am" encoder="mjchael" } myChords = \new ChordNames { \chordmode { c1 a:m c a:m }} Lager_C = { <e, c e>4 \downbow <g c' e'>8 \downbow <g c' e'>4 \upbow <g c' e'>8 \upbow <g c' e'>4 \downbow } Lager_Am = { <e, a, e>4 \downbow <a c' e'>8 \downbow <a c' e'>4 \upbow <a c' e'>8 \upbow <a c' e'>4 \downbow } myRhythm = { \repeat volta 4 { \Lager_C \Lager_Am \Lager_C \Lager_Am \mark "4x" }} \score { << %layout % Chords \myChords % Slash Notation \new Voice \with { \consists "Pitch_squash_engraver" }{ \set Staff.midiInstrument = "acoustic guitar (nylon)" \improvisationOn \override NoteHead.X-offset = 0 \myRhythm } >> \layout{} } \score { << % midi \unfoldRepeats { \tempo 4 = 90 \time 4/4 \key d \major \set Staff.midiInstrument = #"acoustic guitar (nylon)" g,4 a, b, \myRhythm <g, b, d g b g,>1 \downbow } >> \midi{} } \paper { indent=0\mm line-width=180\mm oddFooterMarkup=##f oddHeaderMarkup=##f % bookTitleMarkup=##f scoreTitleMarkup=##f }$

$\version "2.20.0" \header { title="Campfire stroke (C Am)" encoder="mjchael" } myChords = \new ChordNames { \chordmode { c4. a8:m s2 c4. a8:m s2 c4. a8:m s2 c4. a8:m s2 }} Lager_C_a = { <e, c e>4 \downbow <g c' e'>8 \downbow } Lager_Am_b = { <a c' e'>4 \upbow <a c' e'>8 \upbow <a c' e'>4 \downbow } myRhythm = { \repeat volta 4 { \Lager_C_a \Lager_Am_b \Lager_C_a \Lager_Am_b \Lager_C_a \Lager_Am_b \Lager_C_a \Lager_Am_b \mark "4x" }} \score { << %layout % Chords \myChords % Slash Notation \new Voice \with { \consists "Pitch_squash_engraver" }{ \set Staff.midiInstrument = "acoustic guitar (nylon)" \improvisationOn \override NoteHead.X-offset = 0 \myRhythm } >> \layout{} } \score { << % midi \unfoldRepeats { \tempo 4 = 90 \time 4/4 \key d \major \set Staff.midiInstrument = #"acoustic guitar (nylon)" g,4 a, b, \myRhythm <g, b, d g b g,>1 \downbow } >> \midi{} } \paper { indent=0\mm line-width=180\mm oddFooterMarkup=##f oddHeaderMarkup=##f % bookTitleMarkup=##f scoreTitleMarkup=##f }$

The 2-5-1 chord progression

In the key of G major, the chord C major is the subdominant. Am is the relative minor of C major, so Am is the relative subdominant.

The relative subdominant can be used very well as an announcer ("herald") of the exciting dominant.

Suppose a song contains the chord sequence D(7) G (dominant - tonic). In such a case, the relative subdominant Am very often announces the dominant D(7). You can gain momentum with the Am to D(7) in order to then end up at G again. So Am D(7) G.

If you count through the G major scale

1 2 3 4 5 6 7  8(=1)
G A H C D E F# G

then you will see that G is on the first degree, A (and Am) on the second degree and D on the fifth degree. The chord progression Am D(7) G is therefore a II-V-I chord progression (2-5-1 in Roman numerals). This chord progression occurs very frequently. It is also particularly popular as a final turn at the end of a verse, a chorus or at the end of a song, or as a transition from the end of a verse with Am D to the beginning of the next verse again with the tonic G. A chord progression, which leads back to the tonic, is a "turnaround". It's worth paying attention to this. It is always easier to memorize a whole standard chord progression than three seemingly independent chords. After a while, you will see and hear this II-V-I connection on your own.

$\version "2.20.0" \header { title="Campfire stroke Am D G G" encoder="mjchael" } myChords = \new ChordNames { \chordmode { a1:m d g s }} Lager_Am = { <e, a, e>4 \downbow <a c' e'>8 \downbow <a c' e'>4 \upbow <a c' e'>8 \upbow <a c' e'>4 \downbow } Lager_D = { < a, d>4 \downbow <a d' fis'>8 \downbow <a d' fis'>4 \upbow <a d' fis'>8 \upbow <a d' fis'>4 \downbow } Lager_G = { <g, b d>4 \downbow %1 <g b g'>8 \downbow %2 <g b g'>4 \upbow <g b g'>8 \upbow <g b g'>4 \downbow } myRhythm = { \repeat volta 4 { \Lager_Am \Lager_D \Lager_G \Lager_G \mark "4x" }} \score { << %layout % Chords \myChords % Slash Notation \new Voice \with { \consists "Pitch_squash_engraver" }{ \set Staff.midiInstrument = "acoustic guitar (nylon)" \improvisationOn \override NoteHead.X-offset = 0 \myRhythm } >> \layout{} } \score { << % midi \unfoldRepeats { \tempo 4 = 90 \time 4/4 \key d \major \set Staff.midiInstrument = #"acoustic guitar (nylon)" \myRhythm <g, b, d g b g,>1 \downbow } >> \midi{} } \paper { indent=0\mm line-width=180\mm oddFooterMarkup=##f oddHeaderMarkup=##f % bookTitleMarkup=##f scoreTitleMarkup=##f }$

Examples of a II-V-I chord progression

Killed[Am]poor Laura[D]Foster. - You know you're bound to[G]die. (Tom Dooley)
And I[G]never will[Am]play THE WILD[D]ROVER no[G]more
[Am]saying SOMETHING[D]STUPID like I[G]love you
and I[Am]mean it from the[D]bottom of my[G]heart (I just call to say I love you)
DON'T[Am]WORRY,[D]BE[G]HAPPY

In the last lessons you learned the chord progression G-Em-C-D. You also learned here that C major can sometimes be replaced by Am. And you learned that Am can herald the dominant D. So just try replacing the chord progression G-Em-C-D with the chord progression G-Em-Am-D. You'll find that in most cases it works without any problems, so it will be a matter of taste later on whether you use one or the other variant.

Em - Am

Even if the chord change Em Am doesn't cause any significant problems, you can practice it several times in isolation if necessary:

Lift all fingers
Both fingers goes simultaneously down one fret
Index finger in the correct position (same like in C major)
Lift all fingers
Index and middle fingers goes simultaneously up one fret.