We have studied the construction of the major scale but that scale is only one of many commonly used scales in music. Another commonly used scale is the MINOR SCALE. Actually, the minor scale comes in three varieties, NATURAL MINOR, HARMONIC MINOR, and MELODIC MINOR. The difference between these three forms of the minor scale is only one or two notes. These differences will be examined in this week's lesson.
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Black Orpheus by the Brazilian composer Luiz Bonfa is a bossa nova classic in a minor key. It uses both the natural minor and harmonic minor forms.
First we start with the natural minor scale.
Just as there is a major scale that uses nothing but the white keys of the keyboard, there is a natural minor scale that uses only the white keys. The beginning note of this natural minor scale is "A". The "A" natural minor scale uses only the white keys: A, B, C, D, E, F, and G. The interval formula for a natural minor scale is as follows:
| A | B | C | D | E | F | G | A | ||
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | ||
| W | H | W | W | H | W | W |
The natural minor scale has a constant relationship with a specific major scale and that relationship will be studied in detail next week.
Many melodies use the natural minor scale and one well known tune is "God Rest Ye Merry Gentleman".
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The natural minor scale can be created on any of the twelve pitches (using 15 different letter names). There is always a constant relationship between a natural minor scale and a major scale that contains the same amount of sharps or flats. The A natural minor scale is related to the C major scale because both scales use natural notes (white keys) only. There is a minor scale similarly related to the scale of G major (which has one sharp, F#). That scale is E natural minor. When starting on the note E and adhering to the natural minor interval formula, the scale will have one sharp, F#.
The E natural minor scale uses the same interval formula as A natural minor W-H-W-W-H-W-W. If you are using numbers (i.e. W=2, H=1) then the pattern is 2-1-2-2-1-2-2.
E natural minor
G major
When starting on the note B, the pattern yields the notes shown below. This is the B natural minor scale.
The natural minor scale that uses 3 sharps is named F# natural minor.
Start on C# and you get the following notes. C# natural minor has 4 sharps.
The natural minor scale that uses 5 sharps is named G# natural minor.
The natural minor scale that uses 6 sharps starts on D#.
The natural minor scale that uses all 7 sharps is A# natural minor.
The same situation works for the natural minor scales using flats. There is a natural minor scale using 1 flat, 2 flats, 3 flats, 4 flats, 5 flats, 6 flats and 7 flats. Check out the list of scales shown below. For variety, I'll use Bass clef.
If you start on the note D and adhere to the formula of 2-1-2-2-1-2-2 you get the D natural minor scale shown below.
When starting on the note G, the pattern yields the notes shown below. This is the G natural minor scale.
The natural minor scale that uses 3 flats is named C natural minor.
Start on F and you get the notes shown below. F natural minor has 4 flats.
There is a natural minor scale that uses 5 flats, it is named Bb natural minor.
The natural minor scale has 6 flats starts on Eb.
The natural minor scale that uses all 7 flats is Ab natural minor.
Another form of the minor scale that is commonly used is called the Harmonic Minor scale. It is similar to natural minor except that the seventh scale degree is raised by a half step. For example, in the key of A minor, the natural form is spelled A B C D E F G A. To create the harmonic form, you raise the seventh scale degree a half step. In this key the seventh note G is changed to G#. In the key of A minor the harmonic minor scale is spelled A B C D E F G# A. Notice that the scale has one sharp, G#. This is not the same sharp that is used in major or natural minor scales with one sharp (F#). This constitutes a significant difference in scale construction. Using the number system, the interval construction is 2-1-2-2-1-3-1. Notice that this is the first scale we have studied that has an interval larger than 2 half steps. The interval between the sixth and seventh scale degree is 3 half steps and creates a characteristic sound. It is also a scale that has 3 different half step intervals. The raising of the seventh scale degree creates what is called a 'leading tone'. A leading tone is a note one half step below the tonic (the first note of the scale) and it is a useful melodic note that naturally resolves upward to the tonic. The natural minor scale does not have a leading tone because the seventh scale degree is 2 half steps below the tonic. It was the composers' desire to have a leading tone that brought about the creation of the harmonic minor scale.
| half steps between scale degrees | 2 | 1 | 2 | 2 | 1 | 3 | 1 | |||||||||
| scale degree | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
The tune Hava Nagila uses the harmonic minor scale and is an example of the sound of the sixth and seventh scale degree used in a melodic passage. This melody begins on the fifth note of the scale.
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Here is a list of the harmonic minor scales. Notice the use of a new accidental that occurs in three of the scales that use sharps. The G#, D# and A# harmonic minor scales each use one double-sharp. The 'x' symbol is used to indicate a double sharp. The double-sharps used in these scales are all white keys, and they are needed so that all of the letter names of the musical alphabet will be used and no letter names are used twice.
A harmonic minor scale
D harmonic minor
Wow! a scale that uses both a sharp and a flat! That doesn't happen in major or natural minor scales.
G harmonic minor
Look! Another scale that uses both a sharp and flats.
All courtesy of the harmonic scale. ... You're Welcome.
C harmonic minor
F harmonic minor
Bb harmonic minor
Eb harmonic minor
Ab harmonic minor
Here are the harmonic minor scales that use sharps. I'll use Bass clef for variety.
E harmonic minor
B harmonic minor
F# harmonic minor
C# harmonic minor
G# harmonic minor This scale uses Fx (F double-sharp) to create the raised seventh scale degree.
D# harmonic minor This scale uses Cx (C double-sharp) to create the raised seventh scale degree.
A# harmonic minor This scale uses Gx (G double-sharp) to create the raised seventh scale degree.
By raising the seventh, the harmonic minor scale satisfied a composer's desire to use a "leading tone" in a minor key. This alteration however created an extra large interval between the 6th and 7th scale degrees (3 half steps!). Hava Nagila is an example of the wide interval between the sixth and seventh scale degree in the harmonic minor scale. This wide interval is a very easily recognizable and interesting sound but not every composer liked the melodic effect of this interval.
To the rescue comes the Melodic Minor scale. The melodic minor scale is similar to a natural minor scale except both the 6th and 7th are raised by a half step. This scale is created by whole steps and half steps, there are no 3 half step intervals in this scale. Also notice how close this scale is to the major scale of the same letter name (i.e. A melodic minor is almost the same as A major). The melodic minor scale has an unique quality of containing 4 whole steps in a row. Its use was extremely common during the Baroque and Classical eras and the melodic minor scale is also extremely useful in comtemporary jazz.
There is some inconsistency as to how the melodic minor scale is used. Traditionally the scale is taught using what is called the ascending and descending forms. Ascending form is the formula discussed in this section. The descending form of the melodic minor scale is exactly the same as the natural minor. Below is shown the ascending/descending version of the scale rooted on C. Notice that this scale has an A and B when ascending and an Ab and Bb when descending. In classical music one can find examples of this ascending/descending usage of the melodic minor scale as well as the ascending form only. In jazz it is more common to use the "ascending" form only. I prefer to call only the ascending form by the name "melodic minor" while I refer to the descending form by the name we have already given that scale: natural minor. Why confuse the issue by giving two different names to a single scale structure? If you read about the melodic minor scale in other music theory texts you will undoubtedly encounter the terms 'ascending' and 'descending' melodic minor.
Here is a list of the melodic minor scales. I will not show the ascending/descending versions in this list. Notice that some of the scales use double-sharps.
A Melodic Minor
E Melodic Minor
B Melodic Minor
F# Melodic Minor
C# Melodic Minor
G# Melodic Minor
D# Melodic Minor
A# Melodic Minor
D Melodic Minor
G Melodic Minor
C Melodic Minor
F Melodic Minor
Bb Melodic Minor
Eb Melodic Minor
Ab Melodic Minor
The following example is of the Melodic minor scale, first using the traditional classical 'ascending/descending' forms then the jazz 'ascending only' form. The opening phrase of a Bourree by Bach and 'The Autumn Leaves' by Kosma/Mercer are included. In the Bourree the ascending/descending form is used. The Autumn Leaves begins with four ascending melodic lines but uses the melodic form on the fourth line only (the natural minor scale is used on the first three lines).
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One of the things that has attracted me to the minor keys is the variety of scale and chord choices. The fact that the scale has three forms creates an inherent variety. Some compositions use one form throughout as has been demonstrated with God Rest Ye Merry Gentlemen (natural minor) or Hava Nagila (harmonic minor). Many other compositions in minor use two or all three forms. Some compositions use both the raised and natural 6th and 7th scale degrees. Some popular tunes that use these scale degrees in a descending bassline include My Funny Valentine, This Masquerade, Stairway to Heaven, and Michelle.
Composers will choose the form of the minor scale that best creates the musical effect that they desire. If that means changing forms in mid-phrase so-be-it. Mozart's 40th symphony changes from the natural minor form in the first phase to the harmonic minor form (used melodically) in the second phrase. And of course, it sounds perfect. It's Mozart.
These eartraining exercises move through all of the minor keys. The exercise consists of a scale played up and down followed by the triad (1st 3rd 5th and 8th notes of the scale). The order of the keys is as follows: Am, Em, Bm, F#m, C#m, G#m/Abm, D#m/Ebm, A#m/Bbm, Fm, Cm, Gm, Dm.
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This exercise uses the ascending/descending form of the melodic minor scale. The descending form is the same as natural minor.
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In the jazz style it is more common to use the same form both ascending and descending. Also in jazz it is common to use more complicated harmony than a simple triad so an arpeggiated 9th chord is used instead. (see chapter on triads for more info on chords) For variety the order of the keys is changed to the following: Am, Dm, Gm, Cm, Fm, Bbm/A#m, Ebm/D#m, Abm/G#m, C#m, F#m, Bm, Em.
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What exactly is the purpose of studying all of these scales? Are we restricted to using notes only in the major, natural minor, harmonic minor or melodic minor scales? Are the other notes wrong?
The answer to the last two questions is "NO!".
The value of studying all of the scales lies in the fact that many people thoughout history have used these scales. (Imitation is the highest form of flattery.) These scales are used in music the world knows and loves. If you like classical, pop, rock, or jazz music you have probably enjoyed music that uses the scales we have studied. There are many other important scales to learn, but the four scales we have focused our study on are certainly among the Top Ten. These scales are in our musical psyche and many musicians who have no formal training use these scales without knowing the names of the scales they are playing.
But if these scales are almost intuitive, why take the effort to study them? If I already hear the scale in my mind, why do I have to study a bunch of rules on how to write the scales?
My answer: I believe in studying music on several levels. I hear it in my mind, I know how it feels on an instrument (for me that would be keyboard or guitar) and I understand the scales and chords and their relationship to the key as I play them. If I'm playing a written piece from memory, I can "see" the sheet music in my mind. If I'm improvising, I forego any mental notation processing (I don't see music notation in my mind when I'm improvising, others might, I don't know). In my view, hearing the music in your mind is the most important component but certainly not the only component to the process of creating and performing music.
I'm in favor of a systematic approach to learning how great composers create the beautiful sounds they do. And although learning these scales is only a start to learning how music is created, it is an important foundation on which to build.
The minor key is a good environment in which to play the blues and pentatonic scales. These scales are of a different construction from the scales studied in this lecture, yet they are of interest to me and I assume others. They will not be a requirement for testing purposes, if you were wondering. In other words I won't test you on the material in section 6.8.
Minor Pentatonic
This five note scale is created by starting with the natural minor form and omitting the second and sixth note. So it is really the same scale you already know except you skip two of the notes. By continuously omitting the 2nd and 6th scale degree a different musical effect is created.
C natural minor
C minor pentatonic
There is some ambiguity regarding the terms used for scale degrees in this scale. The second note of the scale is often referred to as the third of the scale because it matches the third note of the natural minor scale of the same letter name. Remember, the second note is omitted, therefore often the term "second scale degree" is omitted also. The same situation holds true regarding the sixth scale degree. Therefore it is common to refer to the tonic (first or key note), 3rd, 4th, 5th and 7th scale degrees in a minor pentatonic scale even though there are only 5 notes, not 7.
This is the first scale that many beginning guitarists learn from their more experienced guitar playing friends. In the hands of an expert player this scale can be quite flashy.
The Minor Blues scale is similar to the minor pentatonic scale with the addition of another note. The new note is the note in between the fourth and fifth scale degree. This creates a short chromatic section of three half steps in a row. That's different. It's a cool sound. It's not exactly a traditional minor sound, but it definitely has a minor quality. I call it minorish.
C minor pentatonic
C minor blues scale
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The following MIDI file is from the Classical MIDI archives site on the Internet (I found it using the Charles Kelly link from last week's lecture). It is a performance of the Rondo from Beethoven's Pathetique Piano Sonata. The first section (which is repeated several times, standard procedure for a Rondo) uses the Harmonic minor scale extensively.
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I thought it might be fun to rearrange parts of the Rondo as a Mambo. The second MIDI file is that arrangement. I changed the rhythm in many places to transform it into a quasi-Mambo, but in the sections that I used, I didn't change many notes of the melody. Do you hear someone spinning? Sorry Ludwig, my apologies.
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Reading:
Worksheets:
Required Test 8 is found in Quizzes.
(Optional) JavaScript quizzes.
Examine the following scales, they are either natural minor, harmonic minor or melodic minor scales that are spelled correctly or they are incorrectly spelled (in this case choose "None of the above". Click and select the choice that is appropriate for each scale.
