Maybe it was already posted here, but this is absolute gold.
for about 10 years I struggled with theory playing violin, bassoon and tromboneā¦ then about 5 years ago (after doing no music stuff for about 25 years) I bought a keyboard and did some online lessons and it only took a couple of hours before all those things made sense! Things like inversions and sus/add chords are just more obvious on a keyboard due to the linear structure. Captain Chords and Scaler2 are great for working on that stuff as well, especially when Iām sitting at a coffee shop 
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It always seemed easiest for me to remember that there are 2 sets of notes BC and EF that have no black key in between them so theyāre easy to locate. One has 2 black keys to the right, the other has 3 black keys; B&C come before E&F and 2 comes before 3 so BC has 2 black keys to the right, EF has 3 black keys to the rightā¦ then thereās only 3 notes left to fill in. You already know where C and E are and thereās only one key between them, D like you noted so all you have left are G and A. You can also remember that G is a 5th away from C; bassists love 5ths
Itās pretty amazing just how much more visual and apparent it is. I am really glad I didnāt have to learn it on a guitar.
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Iām surprised nobody has mentioned parallel minor scales 
I did, way back, as the sixth mode of the major scale 
All of the modes are āparallel scalesā to a major scale. I.e. the parallel dorian mode to C major is D dorian.
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I understand that but I was referring to a Parallel Natural Minor scale.
I have had this come up in conversations when someone says that there are only 7 chords available in any given key. The parallel minor adds another seven chord choices and a lot of additional available colour to a song.
I have found parallel minor keys very rarely get discussed compared to modes, and that is why I mentioned it.
Beginners do not really need to worry about a lot of the theory discussed on the Bassbuzz forum because any theory is introduced by Josh when necessary, in the B2B course, and that is all they need to worry about to get started.
I am not considering modes at all.
The parallel minor of C is Cm.
The C Major scale is: C D E F G A B
The Cm minor is: C D Eā F G Aā Bā
In the key of C, when you look at the C parallel scale chords in conjunction with with the C major scale chords you now have the following 14 chords available for consideration.
C Cm Dm DĀ° Em Eā F Fm G Gm Am Aā BĀ° Bā
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I thought I was reasonably well versed in theory, but this is the first Iāve heard of the term āparallel natural minor scaleā. Learn something new every day.
Is that correct? (youāve mentioned aeolian twice btw. The modes always follow the same order). Otherwise Iām unclear what youāve listed there.
For a family of 7 chords associated with the C minor scale (I assume thatās what you mean by starting on Aeolian?) would it not be this:
Aeolian - Cm7
Locrian - Dm7flat5
Ionian - Ebmajor7
Dorian - Fm7
Phrygian - Gm7
Lydian - Abmajor7
Myxolydian - Bb7
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Will learning about parallel minor scales help with chugging?
Asking for a friend.
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I think Jƶrg meant Ionian. And I also believe he was thinking about the relative minor and not the parallel minor.
When we say āIn the key of Cā weāre really saying āin the key of C majorā, right? C minor chords donāt fit into the key of C major just because they share the same tonic.
Iām in no way an academic and everything I know was āself-taughtā so I could be wrong.
EDIT
Definition from wikipedia (
)
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a music composition in classical, Western art, and Western pop music.
The group features a tonic note and its corresponding chords , also called a tonic or tonic chord , which provides a subjective sense of arrival and rest, and also has a unique relationship to the other pitches of the same group, their corresponding chords, and pitches and chords outside the group.[1] Notes and chords other than the tonic in a piece create varying degrees of tension, resolved when the tonic note or chord returns.
The key may be in the major or minor mode, though musicians assume major when this is not specified, e.g., āThis piece is in Cā implies that the key of the song is C major. Popular songs are usually in a key, and so is classical music during the common practice period, around 1650ā1900. Longer pieces in the classical repertoire may have sections in contrasting keys.
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No silly, itās the secret pickup line that pro musicians use to get chicks.
Youāre now officially in the club.
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Im not sure they come up very much and have quite as much use. The relative minor keeps the same key signature, the parallel minor is a different key signature. You can convert to the parallel minor of a key by adding 3 flats or subtracting 3 sharps.
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Yes, saying the key of C is understood to mean C Major. Yes, C minor chords donāt fit in the key of C major, A minor chords fit, because they share the same notes of the scale ie all white piano keys for C major and A minor. The key of C minor has 3 flats.
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Is this true? Hirajoshi mode is derived from the pentatonic scales of the Shamisen traditional music
I meant the seven western modes. And I meant relative scales, not parallel scales; I misread @Celticstarās post. Each of which add zero chords to the major scale because all the chords in them are already in the major scale at different positions.
The parallel scales add chords but they are not harmonic with the major scale chords and so you need to know how to use them
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Yup, just wanted to say thereās a world of scales and modes out there.
And Iāve probably heard too many Anime themes
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Take a look at this video:
Or this one:
Let me know what you think.
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