Discover the world of parallel and relative keys. While parallel keys share the same tonic with distinct moods, relative keys share notes but differ in starting points. Explore how these concepts allow musicians to create varied emotional landscapes, enhancing your compositions with seamless transitions and rich musical expressions.

Ah, parallel scales - a concept that may seem mystical, but is in fact extremely useful for any musician, budding or experienced!

Parallel keys basics

To begin with, it's important not to confuse parallel scales with relative scales. Parallel scales share the same tonic, i.e. the same starting note, but differ in the quality of their mode (major or minor, for example).

Take, for example, the scale of C major. Its parallel scale would be C minor. Why would this be? Because they both start with the note C, but use different structures:

• C major follows the organization: whole tone, whole, half, whole, whole, whole, half tone. It is, so to speak, in a playful, joyful mood, and expresses itself with seven notes that sing of happiness.
• C minor, on the other hand, follows: whole tone, half tone, whole, whole, half, whole, whole (if we're talking about the natural minor, but be careful, because the harmonic and melodic minor have their own variations).

So, by simply adjusting the diatonic notes, you can go from Beethoven to Chopin, from cheerful to melancholy, without leaving the comfort of the same starting note! It's a bit like putting on a mask to explore another facet of your musical personality, but with the same fundamental identity.

C major and C minor are two parallel keys. Image By Created by Hyacinth, Public Domain

Parallel keys and Modes

Now, as far as modes are concerned, each major scale can indeed be transformed to create seven different modes, each starting on a different note of the scale and following a distinct interval sequence. Modes derived from the major scale include Ionian (which is simply the major scale itself), Dorian, Phrygian, Lydian, Mixolydian, Aeolian (equivalent to the natural minor scale), and Locrian.

For example, all the chords in different modes can be notated as follows:

Mode	Tonic	Supertonic	Mediant	Subdominant	Dominant	Submediant	Subtonic /Leading tone
Ionian (major)	I	ii	iii	IV	V	vi	vii°
Dorian	i	ii	♭III	IV	v	vi°	♭VII
Phrygian	i	♭II	♭III	iv	v°	♭VI	♭vii
Lydian	I	II	iii	♯iv°	V	vi	vii
Mixolydian	I	ii	iii°	IV	v	vi	♭VII
Aeolian (natural minor)	i	ii°	♭III	iv	v	♭VI	♭VII
Locrian	i°	♭II	♭iii	iv	♭V	♭VI	♭vii

You'll find more info on Roman notation here

Parallel scales can be linked to these modes when considering the mode of a minor scale in relation to its parallel major scale. For example, a parallel major scale can be seen as an Ionian mode variation of a minor scale, while the minor scale corresponds to its Aeolian mode. It's as if each mode of the major scale had a cousin in the world of parallel scales, each bringing its own slightly distinct color and mood.

So, to sum up, parallel scales have shared foundations but develop into distinct entities due to their interval structure. They offer a variety of musical expressions, each with its own modes, just like spices that add flavor to music. Who would have thought that music theory could be so tasty?

Famous songs with parallel keys

• The Police's "Every Little Thing She Does Is Magic": sets up a tension between the keys of D major and D minor
• The Beatles' "Penny Lane": the verse flips between B major and B minor

Relative keys

In music theory, a relative scale refers to two scales that share the same notes, but start at different points. In other words, for every major scale, there is a relative minor scale, and vice versa.

Take, for example, the C major scale, which consists of the notes: C, D, E, F, G, A, B. Its relative minor is the scale of A minor. Why A, you ask? Ah, excellent question! The minor starts on A, but uses the same notes as C major: A, B, C, D, E, F, G. Since both scales play with the same set of seven notes without changing anything, we're talking about relative scales.

To find the relative minor scale of a major scale, go down three semitones (or a tone and a half, if you prefer) from the tonic of the major scale. The reverse is also true: to find the relative major of a minor, go up three semitones.

This relationship allows composers to move fluidly from one scale to another, creating different moods while relying on the same notes. So, even in music, like attracts like!

C major and A minor are two relative keys. Image By Created by Hyacinth, Public Domain

Famous songs with Relative keys

• "Hallelujah" by John Cale: alternates between C Major and A Minor
• "Mr. Jones"by Counting Crows: Verse in A minor and Chorus in C Major

Conclusion

Understanding parallel and relative scales unlocks a world of musical possibilities. By exploring these concepts, musicians can effortlessly transition between moods and modes, enriching their compositions. Whether you're aiming for a joyful or melancholic feel, these scales provide the tools to enhance your musical storytelling and creativity.

Let's hope you'll find parallel scales a little less mysterious from now on, and perhaps even consider them faithful allies on your musical journey! 🎵

If you have some questions feel free to comment below or in the Community section of my Patreon ;)