Relative vs. Parallel Scales - Major and Minor Mapping
In music theory, scales don't exist in isolation. They are connected in two main ways: by their notes (Relative) or by their starting point (Parallel). Understanding these two relationships is the key to unlocking harmonic storytelling.
1. Relative Scales (Same Notes, Different Root)
Every Major scale has a "Relative Minor" scale that shares exactly the same notes and the same key signature.
The Rule: The relative minor is always built on the 6th degree (the "vi") of the major scale. It is 3 half-steps below the major tonic.
- C Major: C D E F G A B
- A Minor: A B C D E F G
They are siblings who share the same DNA but have different personalities.
2. Parallel Scales (Same Root, Different Notes)
A Parallel relationship is when a Major and Minor scale start on the same note.
- C Major: C D E F G A B
- C Minor: C D Eb F G Ab Bb
They share the same "Home" but have completely different moods and key signatures.
When to Use Each
Relative keys are used for natural, smooth transitions. Many pop songs move from a major chorus to a relative minor verse.
Parallel keys are used for dramatic, sudden shifts in mood (e.g., from happy to dark instantly). This is called "Modal Mixture" or "Borrowed Chords."
Summary Comparison
| Relationship | Shared Element | Example |
|---|---|---|
| Relative | Shared Key Signature (Notes) | G Major & E Minor |
| Parallel | Shared Tonic Note (Home) | G Major & G Minor |