Creepy Chord Combos (Chromatic Mediant Relationships)

4/24/2020 Creepy Chord Combos (Chromatic Mediant Relationships)
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CREEPY CHORD COMBOS (CHROMATIC MEDIANT RELATIONSHIPS)
11/5/2016
Have you ever wondered how the harmony in fantasy film music,
adventure game soundtracks, or symphonic black metal works? Do
you want to create a similarly lugubrious atmosphere in your own
music?
If so, here is a theoretical explanation of one commonplace family of

chord progressions that can bring about that foreboding sound-world
you are looking for.
Chromatic Mediant relationships are pairs of chords that are either

https://www.orchestralmetal.com/blog/may-11th-2016 1/11
major or minor thirds apart, creating dark moods and a brooding

feel, but at the same time maintaining a loose sense of tonality.
Chord sequences like this tend to lend themselves to chromatic

melodies that twist and bend through the changes, lines which could
sound totally out of place in a more functional harmonic context.
This sort of harmony can be heard in 'The Lord of The Rings'

soundtrack by Howard Shore, and in the music of bands such as
Dimmu Borgir, Emperor, and Cradle of Filth.
Apart from the chord progressions which are underlined (chords from
the same key, that share two notes), there are dramatic tonal
contrasts between each horizontal pair, brought about by the chords
only sharing one note.
The chords couplets that share a box in the chart are the inversion
of each other (the same progressions turned upside down).
The chart only gives examples starting on C or C minor: don’t forget

that any one of these sixteen pairs could be transposed anywhere
chromatically, and also that the chords could be embellished with
harmonic extensions.
Something I like to do is combine two examples a tritone apart,

resulting in some really rich yet thrillingly dissonant hexatonic
harmonies.
Rules are there to be learnt then burnt: you are only limited by the
breadth of your inspiration and the depth of your imagination (unless
someone else is in charge, of course!).
Instrumentation, performance techniques, and texture (as well as

dynamics) also contribute to the manifestation of these ominous
timbres.
Thanks for reading! Stay tuned for more maniacal insights into
theory, composition, and orchestration coming soon.
As requested, here are a few references to demonstrate what

these sorts of progressions can sound like:
EMILIANA TORRINI / HOWARD SHORE -

'GOLLUM'S SONG'

Emiliana Torrini - Gollum's Song
Intro / Verse
G#m - Bm
(Chromatic Mediant Relationship, minor 3rd)
Cm - D sus 4
( iv - V in Gm, with suspension and resolution on the D,
then between D and B there is also a C.M.R (major 3rd this time)
B - Bm
(tonic major-minor pair)
Cm - D sus 4
( iv - V in Gm, with Suspension + Resolution on the D )
Chorus
[Gm - Bm] x2
(C.M.R major 3rd)
Cm/^7 add 6
(from C melodic minor)
D sus 4
( iv - V in Gm, with S+R on the D)
Cm - D add ♭ 9
( iv - V in Gm, with S+R on the D)
DIMMU BORGIR - 'THE SERPENTINE

OFFERING'
DIMMU BORGIR - The Serpentine Offering (OFFICIAL MUSI…

MUSI…
Orchestral Intro
Gm - E ♭ m
(C.M.R major 3rd, starting in the dominant key of Gm)

Gm - B
(C.M.R major 3rd, then tritone substitution of F with B, leading into
the tonic key of Cm)
Orchestral Theme
Cm - E - Cm
(C.M.R major 3rd)
Cm - A ♭ m - Cm
(C.M.R major 3rd, then i - iv to the sub-dominant key of Fm)
Band Theme / Chorus

Fm - A - Fm
(C.M.R major 3rd)
Fm - D ♭ m - Fm
(C.M.R major 3rd, then C.M.R minor 3rd into D)
Interlude
D diminished riffage + chromatic trills
Verse
E ♭ 5 - F#5 - E ♭ 5 -
F#5 - E ♭ 5 - D5
Pre - Chorus
Cm - A ♭ m
(C.M.R major 3rd)
Cm - E
(C.M.R major 3rd, then tritone substitution of Bb with E, leading into
Ebm)
Vocal Solo (sung by Vortex)

[ Gm - D ] x 4
E ♭ m - Gm
(C.M.R major 3rd, vocal in Eb major)
then
(C.M.R minor 3rd)
B ♭ m add 9 - Fm
(iv - i in Fm)
E ♭ m - Gm add 9
(C.M.R major 3rd, vocal in Eb major, then tritone substitution of C)
F# - Cm - D
(iv - V in G minor, same as in Gollum's Song)
Bridge
D diminished dissonant arpeggios, #11's and ♭9's
Tritone substitutions also tend to add a great deal of tension and a

feeling of unease to a chord sequence: i'll post another blog
specifically on that topic in the near future.
Often, the most effective harmonic cocktail for this kind of music
comes from mixing up different kinds of progressions, so that the
music doesn't get too predictable or repetitive, whilst at the same
time maintaining an ominous and sinister vibe.
Click on the image below to see a transcription I made of the

orchestral sections of the song back in 2010:
Jenny
11/5/2016 12:29:23
Fantastic blog!
Sam
11/5/2016 22:38:24
I'm still new to music theory, not sure I understand what is being
suggested. How are you suggesting we use those boxes?
Ben
12/5/2016 01:54:52
Can you post an audio or video example? I'm trying to use these
examples and not sure if I'm getting it
Michael
12/5/2016 07:42:52
These are also called chromatic mediant relationships -- a third

apart but not related diatonically. They become more common in the
Romantic period of classical music. It's also useful to know what
modulating to keys with this relationship sounds like. It's basically
all over the history of sci-fi film scores.
Jon Phipps link
12/5/2016 10:06:04
Thanks Jenny!
Sam, the pairs of progressions within each box are inversely related
to each other. For example, C-E is a pair of major chords, a major
third apart. C-Ab is likewise a pair of major chords, a major third
apart, but with a descending major third between them, as opposed
to an ascending one. I hope that this helps clear it up for you.
Ben: Yes I will post some examples for demonstration purposes,

thank you for the nudge!
Michael: Thank you for your insights into this topic. I've changed the
title of the blog accordingly! :)
Jon Phipps link
12/5/2016 10:09:43
Sam: additionally, the boxes that are next to each other horizontally
share the same kinds of chords in each case, but the chord pairs on
the left have major thirds between them, whereas the chord pairs on
right are separated by minor thirds.
Zack parsley
20/5/2016 12:28:44
Thank you so much again Jon , I will write some tonight with this my
friend, your a great person for sharing this since it helps me learn,
have a great day!
Comments are closed.
Copyright 2020 Jon Phipps. All Rights Reserved.

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4/24/2020 Creepy Chord Combos (Chromatic Mediant Relationships)

HOME CONTENT SERVICES REVIEWS CONTACT

CREEPY CHORD COMBOS (CHROMATIC MEDIANT RELATIONSHIPS)

If so, here is a theoretical explanation of one commonplace family of

Chromatic Mediant relationships are pairs of chords that are either

major or minor thirds apart, creating dark moods and a brooding

Chord sequences like this tend to lend themselves to chromatic

This sort of harmony can be heard in 'The Lord of The Rings'

HOME CONTENT SERVICES REVIEWS CONTACT

The chart only gives examples starting on C or C minor: don’t forget

Something I like to do is combine two examples a tritone apart,

Instrumentation, performance techniques, and texture (as well as

As requested, here are a few references to demonstrate what

EMILIANA TORRINI / HOWARD SHORE -

HOME CONTENT SERVICES REVIEWS CONTACT

DIMMU BORGIR - 'THE SERPENTINE

DIMMU BORGIR - The Serpentine Offering (OFFICIAL MUSI…

(C.M.R major 3rd, starting in the dominant key of Gm)

Band Theme / Chorus

Vocal Solo (sung by Vortex)

Tritone substitutions also tend to add a great deal of tension and a

Click on the image below to see a transcription I made of the

These are also called chromatic mediant relationships -- a third

Ben: Yes I will post some examples for demonstration purposes,

Comments are closed.

Copyright 2020 Jon Phipps. All Rights Reserved.

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