This relative major is located 3 semitones above the minor tonality.

In the same way, we can think of the inverse: every minor tonality has a relative major. This increases our options when thinking about the solo. That is, whenever we have a major tonality, we can think of two scales: the major scale of that tonality and the relative minor scale of that tonality. This is extremely useful! It means that we can use the A minor scale to solo a song whose tonality is C major. Compare below, for example, the C major x A minor and G major x E minor scales: Incredible, isn’t it? That is why the denomination “relative” is used. That is, the major scale has a relative minor scale that is identical to it. If you take the C major scale and compare it with the A minor scale, you will see that they have exactly the same notes. This scale is nothing more than the natural minor scale we have seen we are just creating a sixth degree link in relation to the first, and soon you will understand why. Well, as you can see, we are not learning any new scales here. Note: if you are still a little lost on this subject of degrees, read the article “ What are degrees?” again. Since we were in C, the sixth degree is A, so just play A minor. Speaking like this seems confusing, but it is quite simple in practice. As a rule, the relative minor scale of a major scale is the minor scale of the sixth degree of that tonality. The C relative minor scale will be the A minor scale. Think of a major scale, for example, the C major scale. Every improviser who has learned how to use the major and minor scales must learn, right after that, how to use the relative minor scale. The relative minor scale is widely used in improvisation because it allows more ideas for the solo.

B flat major e major scale