**The simplest key is C major, with no sharps or flats. Each major key has a 'relative' minor key based on its sixth note. The sixth note of the C scale is A so the relative minor to C major is A minor. It also has no sharps or flats. This scale is called the

NATURAL MINOR SCALE.**

It might interest you to know that you're wrong. I know, I know...that's how you were taught. But it's wrong. Aeolian mode (the 6th degree of Ionian mode erroneously assumed to be the major scale) is NOT the natural minor scale. In the major-minor system we use today, the minor is simply its major of the same scale major modified at 3 and 6.

The reason is that Aeolian mode has no V7. The true minor scale MUST have a V7. Someone else asked how it is that we play chromatically. We play chromatically BECAUSE we have the V7. Without that one chord, we cannot change keys or hit turnarounds and resolve back to I. Look at your song structures: ii-V7, ii-V7-I, I-vi-ii-V7. In Aeolian C minor where is your V7? Nowhere. So what can it do chromatically? Nothing.

**Futwick, let's look at C minor since that's the key you started with. C is the relative minor of Eb, which has 3 flats, Bb, Eb and Ab. You're right when you say we need a B natural to play a chromatic scale, but you also need a Bb.**

Yes, as a passing note. Forget the term "relative minor" as it doesn't have much meaning.

**The three minor scales and minor harmony have been extensively discussed in older threads.**

I hope the conclusion was that three are not necessary. We only need one.