The relationship between two pitches is called interval, and all interval is based in a Root and its relationship with any other pitch of the scale. Take a look at the interval structure of the major scale below and compare with the minor scales:

The Major Scale:

R – root M – major interval b – minor interval P – perfect interval

This scale has only major intervals except the fourth, fifth and the eighth that are perfects. Note the half-steps between E and F, and B and C. Pay special attention to the two steps between the Root (C) and the major third (E). Another very important interval to be noted is the perfect fifth (three and a half-step from the Root). Now to make a minor scale you have to move the major third a half-step down. Take a look at these scales below:

The minor scale:

This is the relative minor scale from that major we just studied before. The minor scale has the minor third, minor sixth and also the minor seventh in its structure.

The harmonic minor scale:

Now we have here the major seventh again, creating that interesting effect of expectation that we had lost in the minor scale.

The melodic minor scale:

With the major sixth back again, we have another interesting sound in this scale. Do you know why the old composers used to write this scale upward and the minor scale downward? I’ll be waiting for a good answer.

You can find nice effects moving up or down the pitches of any scale, you should try it! But you have to know the classification of the intervals. The difference when dealing with a major or a perfect interval is shown in the diagram below:

There are other classifications related with the quality of the intervals (If they are melodic or harmonic ones for example), you can find these specific topics in any book about harmony, but the most important thing you have already learned. Now, to put it in practice, start to analyze the relationship you may find in those simple chords that play on your instrument.

Have fun!

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