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Finding the relative minor

Harmonic minor keys are used when writing chords. There is another version of the minor key known as the melodic minor. This is used when writing a melody.

Each key signature has two possible keys. The major key and the minor key, which will begin on a different note. This is known as the relative minor. So G major, for example has a key signature of one sharp, but this is also the key signature for E minor.

To find this, just count down three semitones (count to the left). For example, the relative minor of C is A minor.

The pattern of a melodic minor key is: tone - semitone - tone - tone - tone - tone - semitone ascending and tone - tone - semitone - tone - tone - semitone - tone descending.

Harmonic minors use the relative major key signature and raise the seventh note of the scale. For example, in A harmonic minor there are no sharps or flats other than the raised seventh of G#.

Minor scales

There are two kinds of minor scales - the melodic minor scale and the harmonic minor scale. In the melodic minor scale, the sixth and seventh degree are raised on the way up and flattened on the way down. You can see this in the scales below:

The harmonic minor scale has an augmented second between the sixth and seventh degree of the scale, both on the way up and on the way down:

The characteristics of these minor scales mean that triads based on these degrees of the scale make different kinds of chords. These chromatic alterations have been the basis of a whole range of musical styles.

For example, the triads in C major are as follows:

Triads can be indicated by Roman numerals of the degrees of the scale.

In the jazz styles of Gershwin and Kern, the dominant seventh was often substituted with an augmented chord.This gave the tonic-dominant a new and modern feel. This can be heard in Can’t Help Lovin’ Dat Man from Jerome Kern’s Showboat.