![]() ![]() In particular, the 3rd, 6th, and 7th chords are marked with the flat sign. Here it is:Īs you can see, some of the chord numerals, on the first row of the table, have a flat sign in front. The first note of a minor key is always associated with a minor chord, the second note always with a minor chord, and so on.Īs I did for the major scale, I compiled for you a table with all the chords for every minor key. With this I mean that the order in which the major and minor chords appear is always the same. The chord structure for the minor scale is the same for all keys. In other words, every note in the scale is associated with a chord. The chords associated with the A minor scale are A minor, B diminished, C major, D minor, E minor, F major, G major. ![]() The chords from a scale are strictly related with the notes on a scale an A minor scale is made by the notes A B C D E F G (see our previous lesson on that, linked above). On the other hand, the order of these chords in the natural minor scale is different than it was for the major scale. Today instead we will have a look at the chords associated with the minor scale and how to use them to compose your own songs.Įxactly like the major scale, any minor scale is associated with a set of seven chords - three major, three minor, one diminished. Now that you’ve learned what you needed to know about the relative minor, try to find the relative minor of all major chords or scales.On a previous lesson we have seen how to play the natural minor scale on the guitar. Try it out by taking a song in the major key and playing the relative minor on top of it. For now, think about the scales, remember that you can always use the relative minor along with the major scale. We will see this in more detail in the study of harmonic functions. The relative minor of G will be Em (or Em7).Īs the relative chords have an affinity with each other, they can be exchanged for one another. Another example: suppose the tonality is G major. For example, the C relative minor chord is the sixth degree chord of the C major key, that is, Am (or Am7). The relative minor chord is the sixth degree chord of the major key in question. It is worth noting that this concept also exists for chords. Therefore, the relative major of A minor is C major. This relative major is located 3 semitones above the minor tonality. In the same way, we can think of the inverse: every minor tonality has a relative major. This increases our options when thinking about the solo. That is, whenever we have a major tonality, we can think of two scales: the major scale of that tonality and the relative minor scale of that tonality. ![]() This is extremely useful! It means that we can use the A minor scale to solo a song whose tonality is C major. Compare below, for example, the C major x A minor and G major x E minor scales: Incredible, isn’t it? That is why the denomination “relative” is used. That is, the major scale has a relative minor scale that is identical to it. If you take the C major scale and compare it with the A minor scale, you will see that they have exactly the same notes. This scale is nothing more than the natural minor scale we have seen we are just creating a sixth degree link in relation to the first, and soon you will understand why. Well, as you can see, we are not learning any new scales here. Note: if you are still a little lost on this subject of degrees, read the article “ What are degrees?” again. Since we were in C, the sixth degree is A, so just play A minor. Speaking like this seems confusing, but it is quite simple in practice. As a rule, the relative minor scale of a major scale is the minor scale of the sixth degree of that tonality. The C relative minor scale will be the A minor scale. Think of a major scale, for example, the C major scale. Every improviser who has learned how to use the major and minor scales must learn, right after that, how to use the relative minor scale. The relative minor scale is widely used in improvisation because it allows more ideas for the solo. ![]()
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