Understanding Relative Keys, Part 2

(Note: if your knowledge of music theory is not that great, this lesson might seem a little complicated. If this lesson seems over your head, I’d encourage you to book a lesson with your favorite guitar teacher and go over the basics. You might also want to look at my earlier blog post dealing with the fundamentals of music theory on guitar.)

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Now that we understand relative keys, it’s time to dig into another key concept: parallel scales! Using parallel scales will allow us to double our repertoire of sounds using just one scale shape. Check out the video below, then read on for discussion.

 
In Part 1 of this series, we learned about the relative major and minor keys.
Recall the A Minor Scale:

E------------------------------5-7-8---
B------------------------5-6-8---------
G------------------4-5-7---------------
D--------------5-7---------------------
A--------5-7-8-------------------------
E--5-7-8-------------------------------

 
A Minor Scale is formed by the notes A B C D E F G
 
As we learned in the last lesson, every minor scale has a relative major scale. The relative major of any minor scale uses all of the same notes as the minor scale, but begins on the 3^rd note of the minor scale. So, the relative major of the A Minor Scale is the C Major Scale.
 
C Major Scale: C D E F G A B
 
The defining feature of parallel scales is that they have the same starting pitch, but different scale qualities (major or minor). The parallel minor of A Major is A Minor, and vice versa.
 
Now that we’ve established that idea, we can figure out that the parallel major of A Minor is the A Major Scale. Remember, parallel scales have the same starting pitch (or tonic), and different qualities with respect to major or minor.
 
A Major Scale: A B C# D E F# G#

E----------------------------4-5-7----
B------------------------5-7----------
G------------------4-6-7--------------
D------------4-6-7--------------------
A------4-5-7--------------------------
E--5-7--------------------------------

Using our knowledge of relative scales, we can find the relative minor of A Major, which is F# Minor. We can play the F# Minor Scale using the same shape as the A Minor Scale, just moved down three frets (a minor third) so that it starts on F#.
 
F# Minor Scale: F# G# A B C# D E F#

E------------------------------2-4-5---
B------------------------2-3-5---------
G------------------1-2-4---------------
D--------------2-4---------------------
A--------2-4-5-------------------------
E--2-4-5-------------------------------

 
So, to review: when we’re playing in the key of A Minor, we can use the A Minor Scale…

E------------------------------5-7-8---
B------------------------5-6-8---------
G------------------4-5-7---------------
D--------------5-7---------------------
A--------5-7-8-------------------------
E--5-7-8-------------------------------

…And when we’re playing in the parallel key of A Major, we can use the F# Minor Scale, which is the relative minor of A Major. To play the F# minor scale, we can use exactly the same shape as the A Minor Scale, just moved down three frets.

E------------------------------2-4-5---
B------------------------2-3-5---------
G------------------1-2-4---------------
D--------------2-4---------------------
A--------2-4-5-------------------------
E--2-4-5-------------------------------

Based on our knowledge of relative keys, we can use just one scale shape to achieve a wide variety of sounds. Using relative scales, we magically expand our library of licks, without having to learn any new scale shapes! 

Have fun trying out new ways to use the minor scale shape, and stay tuned for Part 3 of this series!

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