The only thing that is shared is the root, or starting pitch. The parallel minor of D major is D minor. The relative minor of D major is B minor, because ‘B’ is the 6th degree of the D major scale and B minor shares the same key signature as D major. The only thing shared by a major key and the parallel minor is the root, or starting note. Parallel minor does not share the same key signature as a major key. So if we play the same scale (with the same key signature) starting on F, we will have played an F minor scale (natural minor). In this example, the 6th degree of Ab major is F. The relative minor can be formed by finding the 6th degree of any major scale. Notice that we’ve labeled each degree of the scale. In this instance we’ll use the key of Ab major, which has 4 flats – Bb, Eb, Ab, Db. First, we’ll take a major scale, any major scale. The next logical question regarding these related major and minor scales might be, “How do I know which minor scale is related to a given major scale?” The answer is that the relative minor scale is based on the 6th degree of the major scale. Because these two scales share the same key signature, and therefore the same individual notes, we call them relative. Notice that the individual notes in both scales are exactly the same, the only difference being the starting note of each scale. Notice that both scales have the same key signature (one flat, Bb). Below are two scales, F major and D minor. the major and relative minor key share the same key signature. Let’s take a look at how this works. Relative minor is related to a major key. In this article, we’ll make sense of the terms “relative” and “parallel” minor. Relative and parallel minor refer to a tonal center natural, harmonic, and melodic minor refer to various modes of a minor scale. It is much easier to think of these descriptive terms in two separate categories. What does it all mean? What are the differences between each? Do I really have to memorize all of them? Students generally get confused because they lump all of these varieties of “minor” into the same basket. For example, you’ve probably hear the terms “relative” minor, “parallel” minor, “natural” minor, “harmonic” minor, and “melodic” minor. This way 3 things are accomplished:ġ – We learn the notes in two octaves and become more con?dent with our neck.Ģ – We hear the intervallic relationships in a systematic wayģ – The 80/20 Principle shows itself by accomplishing more in less time.There are a lot of descriptive terms that are associated with minor scales. I like to think of each scale in two octaves built in thirds. This is what the chord would look like:Īs a bass player, one of our prime functions is to articulate chords. This one skill of mastery will be more valuable to you when it comes time to move forward.Īnother tip I would like to suggest: if you have a keyboard, it is great to have the chord playing in the background as you go through the exercises. Let’s get the “ sound” and the “ fingerings” of the scale down first. I want you to practice ‘ just” the exercises for C Melodic Minor for as long as it takes to master. My goal is to make this book easy to practice. However, that one note makes a huge difference.
The difference between these two scales is just one note.
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