Unit 22 · Intermediate
Relative Minor and Minor-Key Harmony
Use natural, harmonic, and melodic minor in practical contexts.
- Lesson
- Change minor color without losing the tonic
- Estimated time
- 145 minutes
- Status
- Previewing
Complete the required prior unit before this unit can be marked complete. You may still read and try every activity.
What you will learn
Compare natural, harmonic, and melodic minor over one tonic, distinguish relative from parallel minor, construct minor-key diatonic harmony including dominant V, and perform an original minor verse with a relative-major chorus.
Why this matters: Minor is not one fixed box. Scale-degree changes alter melodic pull and harmonic function; hearing the same tonic across three forms makes those changes available for songwriting and improvisation.
Major scale and relative minor · Diatonic triads · Leading-tone resolution · Two-position scale playing · Functional harmony
Three minor forms solve different musical problems
A natural minor uses 1-2-flat3-4-5-flat6-flat7. Harmonic minor raises degree 7 to create a leading tone and major V chord. Melodic minor raises 6 and 7 while ascending in common classical usage; descending practice often returns to natural minor, though contemporary styles may use either form by color.
Relative minor shares a key signature with a major key: A minor and C major. Parallel minor shares a tonic but changes its collection: A major and A minor.
Scale formula
A natural minor keeps flat 6 and flat 7
- Collection
- A natural minor
- Degrees
- 1 · 2 · b3 · 4 · 5 · b6 · b7
- Notes
- A · B · C · D · E · F · G
- Semitones
- 0 · 2 · 3 · 5 · 7 · 8 · 10
Hear the whole-step G-to-A arrival. Natural minor supports modal and relative-major relationships but does not supply a leading-tone G sharp.
Scale formula
A harmonic minor raises degree 7
- Collection
- A harmonic minor
- Degrees
- 1 · 2 · b3 · 4 · 5 · b6 · 7
- Notes
- A · B · C · D · E · F · G#
- Semitones
- 0 · 2 · 3 · 5 · 7 · 8 · 11
G sharp sits one semitone below A, strengthening leading-tone pull and turning the E chord into major V or E7.
Scale formula
A melodic minor raises degrees 6 and 7
- Collection
- A melodic minor ascending
- Degrees
- 1 · 2 · b3 · 4 · 5 · 6 · 7
- Notes
- A · B · C · D · E · F# · G#
- Semitones
- 0 · 2 · 3 · 5 · 7 · 9 · 11
Raised F sharp smooths the melodic route toward G sharp and A. Compare all three forms over a sustained A so you hear the changed degrees.
Progression · Key A · 4/4
Natural-minor harmony plus dominant V
Natural minor gives minor v. Borrowing raised degree 7 from harmonic minor creates major V and a stronger V-i cadence. Label the altered G sharp so the chord change stays honest.
Lead sheet · Key A · 6/8 · 68 BPM
After the Rainline: Contrast tonic identity and chord inventory
Capo: None
Minor verse × 2
Relative-major chorus × 2
Return × 1
The verse confirms A minor through E major and G sharp. The chorus uses the shared notes but treats C as a temporary center through G-to-C behavior and register contrast.
Observe: minor scales and functional harmony
Observe stage for minor scales and functional harmony, with actions and success criteria stated in text.
- Hear natural, harmonic, and melodic minor over one A drone.
- Identify which degrees change and why.
- Compare A minor with relative C major and parallel A major.
Help you can use: Complete written model · Visible success criteria
- Changed degrees and chord qualities are named accurately.
- Minor and relative-major centers are distinguished by musical behavior.
- Major V resolves with an audible leading-tone relationship.
Try with prompts: minor scales and functional harmony
Try with prompts stage for minor scales and functional harmony, with actions and success criteria stated in text.
- Play each A-minor form while naming degrees.
- Build natural-minor triads, then alter G to G sharp for major V.
- Perform the verse and chorus while naming tonic center.
Help you can use: Numbered steps · One-variable diagnosis
- Changed degrees and chord qualities are named accurately.
- Minor and relative-major centers are distinguished by musical behavior.
- Major V resolves with an audible leading-tone relationship.
Use fewer prompts: minor scales and functional harmony
Use fewer prompts stage for minor scales and functional harmony, with actions and success criteria stated in text.
- Use degree prompts without scale diagrams.
- Choose one minor form for a melodic purpose and explain it.
- Transpose i-iv-V-i to E minor.
Help you can use: Check the model only after an attempt
- Changed degrees and chord qualities are named accurately.
- Minor and relative-major centers are distinguished by musical behavior.
- Major V resolves with an audible leading-tone relationship.
Perform independently: minor scales and functional harmony
Perform independently stage for minor scales and functional harmony, with actions and success criteria stated in text.
- Construct and play three minor forms from a named tonic.
- Perform an original minor verse and relative-major chorus.
- Identify tonic minor, major dominant, and leading-tone pull by ear.
Help: Complete without prompts or a model.
- Changed degrees and chord qualities are named accurately.
- Minor and relative-major centers are distinguished by musical behavior.
- Major V resolves with an audible leading-tone relationship.
Reflect
Give each altered degree a job
Describe where natural, harmonic, or melodic minor appears in your progression or melody; identify the relative and parallel major references; and explain one leading-tone resolution.
Guided practice
Build the skill in manageable steps
One tonic, three sixth-and-seventh pairs
Hear scale-system differences without changing root or register.
- Sustain or repeat A.
- Play F-G-A, then F-G sharp-A, then F sharp-G sharp-A.
- Sing each pair before replaying.
- Name the minor form and melodic effect.
- Tonic A remains stable.
- Changed degrees are named.
- The three resolutions sound and feel distinct.
- Compare natural and harmonic minor only.
- Transfer the comparison to E minor.
Minor verse, relative-major chorus
Create tonic contrast with a shared pitch collection.
- Write a four-chord minor verse ending with major V.
- Write a relative-major chorus that confirms its tonic.
- Change register or density between sections.
- Perform the transition without stopping.
- The verse confirms minor tonic.
- The chorus confirms relative major through behavior, not label alone.
- The boundary creates audible contrast.
- Use the model harmony with an original rhythm.
- Add a melodic-minor line over V.
Common mistakes
Match the problem to a better next try
Minor contexts get treated as natural minor.
Likely cause: Scale shape has replaced harmonic listening.
Try: Compare degree 7 over minor v and major V, then choose by function.
Relative and parallel minor are confused.
Likely cause: Shared key signature and shared tonic are being merged.
Try: State both tonic and collection: A minor/C major share notes; A minor/A major share tonic.
The chorus uses C-major chords but still sounds centered on A.
Likely cause: Chord inventory changed without cadence or phrase emphasis.
Try: Use G-to-C motion, begin or end phrases on C, and shift register.
Knowledge check
Explain the practice decision
Check your work
Change minor color without losing the tonic assessment
Complete every required criterion and record the requested reflection or value.
You check off guitar-playing tasks yourself. FretGarden only grades tasks where you tap, click, or choose an answer on screen.
Review plan
Return before the idea fades
Compare natural, harmonic, and melodic minor degrees 6 and 7.
Build i-iv-V-i and retrieve the relative-major contrast.
Transpose the scale and song process to a new minor tonic.
Name the active minor system whenever altered degrees affect melody or harmony.
Optional extension: Write two endings for one minor melody: natural flat-7 to tonic and harmonic leading-tone to tonic, then compare their formal effect.