Relative Keys
if you compare the A natural minor scale with the C major scale you will notice that they contain the same notes (except starting on a different note). Because of this, these two scales are referred to as "relatives"; A minor is the relative minor of C major and vice versa.
The harmonic and melodic minor scale variations are also relatives of the same major scale, e.g. A harmonic and A melodic minor are relatives of C major.
For every major scale (and ever major chord) there is a relative minor scale which is based upon the 6th note of the major scale. This is outlined in the table below.
Both the major and the relative minor share the same key signature, as illustrated below.
To determine whether a song is in a major key or the relative minor key, look at the last note or chord of hte song. Songs often finish on the root note or the root chord. E.g., if the key signature contained one sharp, and the last chord of the song was En, the key would probavly be E minor, not G major. Minor key signatures are always based on the natural minor scale. The sharpened 6th and 7th degrees from the harmonic and melodic minor scales are not indicated in the key signature. This usually means there are accidentals (temporary sharps, flats or naturals) in melodies created from these scales.
Dotted Eighth Notes
Another common sixteenth note timing is when a sixteenth note is played afger a dotted eighth note,
The dot placed after the eighth note lengthens the note by half its value. The dotted eighth note is equivalent to the duration of three sixteenth notes
Here is a popular South American folk song which moves between the key of E minor and G major which are relative keys. This melody makes use of both the harmonic minor and the natural minor. It also features the dotted eighth note figure shown above.
The following solo uses almost everything you have learned. Take your time with it and be sure to get all of the expressions, techniques and articulations. Listen to the CD several times until you are confident you can reproduce all of the sounds used in the solo. This solo begins with an expressive technique called a fall-off, which involves a very fast slurred chromatic run trailing off away from the note you have played. The fall off may go down or up from a note and although it has a definite starting point, it has no definite finishing point. Fall-offs are usually short and can be indicated by a diagonal wavy line moving downwards or upwards away from the original note. It may take some time to develop the ability to use fall-offs. Start by playing short slurred chromatic runs and gradually speed them up. Once again, listen to the CD to hear the effect of the fall-off. By now, your playing should be sounding fairly good and you will be ready for more advanced study of specific styles of music as well as improvisation and composition. Keep playing, keep practicing, and play with other musicians as possible.
