Relative Major Of A Minor

Relative Major and Relative Pocket-size Scales

Relative Keys

Relative keys take the same central signature (number of sharps or flats). For every annotation in the chromatic scale there is a relative major key and a relative pocket-sized central.

Let's have a expect at an case.
Have a look/listen to this performance of a G major scale and its relative minor – Eastward small-scale:

1000 major Relative Pocket-size

The two keys are clearly different because they start on a dissimilar tonic annotation and ane scale is major (sounds "happy") whilst the other is minor (sounds "sad") .
However, they sound related considering they share the same number of sharps and flats and and then yous tin can easily play i after the other without it sounding horribly discordant!

Understanding this relationship between the relative majors and minors is really useful when you are composing as it makes it very easy to attune (alter fundamental) from the relative major to the relative minor or vice versa. This will make your compositions instantly more interesting.

How to work out the Relative minor

The practiced news is that it's really easy to work out the relative minor of a major key!
If you want to go from the relative major to the relative small-scale you simply need to count downwards iii semitones from the relative major. Take a look at this example on a keyboard:

You tin can meet that if I want to become from C major to its relative minor I kickoff on C and count down 3 semitones and reach A.
Therefore, the relative minor of C major is A pocket-size.

Here's some other example of the relative minor of E major:

If I want to become from E major to its relative minor, once again I count downwardly iii semitones and reach C precipitous.
And so, the relative small of E major is C sharp minor.

How to work out the Relative major

Once more, it'southward very easy!
All you demand to do is to count upwardly three semitones from the relative minor and y'all volition reach the relative major. Take a expect at this example:

If I want to get from F precipitous pocket-sized to its relative major.
Count up 3 semitones and I get to A major.
So, the relative major of F precipitous small-scale is A major.

Relative Keys Chart

You lot tin see that it is piece of cake to work out what the relative major/minor of a key is.
Even so, you do need to know how many sharps/flats are in the related keys in order to be able to employ them in your limerick.
I accept put together a nautical chart showing all the relative major and minor keys together with their respective cardinal signatures.
This should help you lot as y'all get started:

Composing Using Relative Keys

Irresolute cardinal from the relative major to the relative pocket-sized is a keen fashion of introducing contrast in a piece of music.
It can too provide a clear sense of structure to a piece.
Have a look/listen to this case.
It is a piano piece called Prelude eighteen – The Lily.

Prelude 18 The Lily

You lot can see/hear how the piece starts in A major.
It then modulates to the relative minor – F precipitous minor.
I don't have to utilize whatever pin chord or modulating section of music as the 2 keys have the same fundamental signature.
This creates a contrasting section with a more melancholic feel before modulating back to the relative major for the concluding department.
I hope this case inspires yous to use relative major/small-scale modulations in your own composing.

About The Author

Ben Dunnett LRSM is the founder of Music Theory University. He is a music instructor, examiner, composer and pianist with over twenty years experience in music educational activity. Read More than