It's very common for students to be confused between the idea of relative and parallel scales.
Yes, it's not exactly a very straight forward concept, but it's also not as complicated as one may think.
If you put in some effort and thinking into it, you will find that the concept is pretty simple.
Application on the other hand is a different story though. Let's start with understanding what it is, and we can talk about application another day.
What Is A Scale?
In most forms of contemporary music, we create a melodic sequence of notes, which we refer to as scales.
A scale (in most cases) ascend in a specific sequence and descend following the same sequence backwards.
It is important to understand that a scale is not a melody. It's just a melodic sequence that can be used as inspiration/basis for creating melodies.
Every scale has a specific sound and a set of chords, modes, and arpeggios that can be derived from them.
Altogether, each scale and their modes can create a variety of 'moods' which can be used for musical creation.
In certain styles of music, such as Indian Classical, we don't use scales per say, but rather Ragas.
Ragas have more to do with a specific sound with its own set of notes, ascending and descending patterns, and their own unique notes for creating tension and release.
We won't be talking about ragas in this blog since the concept is fairly different from scales.
Relative Scales
When we mention the term 'relative scales', we mean scales/modes that are derived from a particular scale. I like referring to them as the 'mother scale'.
When we play a scale from a specific note (apart from the root) and end on that same note an octave above, we are essentially playing a mode/a relative scale of the mother scale.
Confused? let's look at some examples.
The notes of a C major scale are as follows:
Root | C |
Major 2nd | D |
Major 3rd | E |
Perfect 4th | F |
Perfect 5th | G |
Major 6th | A |
Major 7th | B |
Octave | C |
Now, let's say we play the same scale starting from the D note and end it on a D an octave above, we are essentially playing a relative D dorian scale for C major.
This relative D dorian scale comprises of:
D E F G A B C D
Similarly, if we start from the 4th note and end on the same note an octave above, we end up with an F lydian scale:
F G A B C D E F
The most popular relative scale is the relative minor, which is the scale we get if we start from the 6th note.
In case of C, the relative minor is an A aeolian/natural minor:
A B C D E F G A
Parallel Scales
Parallel scales, are scales that have the same root, but aren't relative to the mother scale.
For instance, the parallel Dorian to a C major scale would be C Dorian instead of D dorian.
So, naturally, the notes of this scales are different:
C D Eb F G A Bb C
Similarly, the parallel minor to C major is C natural minor:
C D Eb F G Ab Bb C
Why Do We Need To Know This?
Knowing relative and parallel keys help in a few ways:
A deeper understanding of scales.
Harmonic modulation in composition and improvisations.
Chordal and melodic substitutes in harmony.
Exploring more sonic possibilities.
Want To Learn Music?
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*Open to students from all over the world and all age groups.
Here are some of the things I talk about in class:
Music fundamentals and theory
Ear-training
Composition
Improvisation
The guitar as a solo instrument
Musical, compositional, and improvisational philosophies
Artistry
Expression
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