U3A Recorder Playing
Handout 5 – Minor Keys and Scales
The major keys produce melodies that generally have a ‘happy’ feel to the music. Conversely, the
minor keys produce melodies with a ‘sadder’ feel. There is a distinct relationship between the
major and minor keys. To explain this relationship, the following diagram, called the ‘circle of
fifths’ will be used.
Starting at the top with the key of C major with no sharps or flats, moving clockwise, the interval
between each consecutive key is a fifth (e.g. G is a fifth above C, D is a fifth above G etc.). This
gives the order of the sharp keys as G with one sharp, D with two sharps etc. This can continue
until the final interval F to C, again a fifth. Again starting from C, travelling anticlockwise will
sequence through the flat keys. Towards the bottom of the circle, things get a little more
complicated as, for example, the key of B has 5 sharps, but is equivalent to the key of C flat which
would have 7 flats. Similarly D flat with 5 flats is equivalent to C sharp with 7 sharps. Finally, F
sharp and G flat are equivalent, with 6 sharps and 6 flats respectively.
Key Signatures for Minor Keys
To find the key signature of a minor key using the Circle of Fifths, find the minor key name on the
circle and read off the number of flats or sharps 3 places anticlockwise from it. E.g. to find the key
signature of E minor, 3 places anticlockwise gives the key of G, which has one sharp. Hence the
key of E minor has one sharp. These are indicated on the inner circle.
An alternative way of finding the key signature of a minor key is to use the key signature of the
major key that is 3 semitones higher than the minor key name. E.g. to find the key signature of G
minor: 3 semitones higher than G is B flat. B flat major has a key signature of 2 flats, therefore
the key signature of G minor has 2 flats.
Relative Major / Relative Minor
Keys with the same key signature are termed ‘relative’. E.g. A minor is the relative minor to C
major: conversely, C major is the relative major to A minor. This can also be described as the
relative minor being a sixth higher than its major key.
The Natural Minor Scale
The natural minor scale begins at the key note and follows the key signature both ascending and
descending. This is not a commonly used scale, but is the easiest to understand.
The Melodic Minor Scale
The melodic minor scale starts on the key note, sharpens the 6 th and 7th ascending and descends
according to the key signature. This scale is commonly used for tunes – hence ‘melodic’.
The Harmonic Minor Scale
The harmonic minor scale starts on the key note and sharpens the 7 th both ascending and
descending. This scale is commonly used for harmonic construction – hence ‘harmonic’.
Practice Scales
The scales set out for practice are the melodic and harmonic only, not the natural minor, as this is
not commonly used.