![]() 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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