As we cited in the previous column, all major tone has its relative minor. We can find the relative minor of a major tone in its sixth degree, while the relative major of a minor tone can be founded in its third degree. For example: the relative minor of E is C#m; the relative major of Cm is Eb. It is important to be careful with enarmonizations, especially in the tones that has many accidents in its structures. The distance between major and minor relative tones must always be a minor third or a major sixth.
The key signatures of minor tones are same used ones for its relative major tones, also when we are using the harmonic minor or melodic minor scales. Just pay attention to the accidents proceeding from the alterations related with harmonic minor or melodic minor scales. It is not used in the key signature. It should be always used as ocurrent accidents. For example: the key signature of B minor natural, B harmonic minor and B melodic minor is the same one used for D major. However, the notes G# and A# (alterations relationed with the structures of B harmonic minor and B melodic minor scales) should always be noted as ocurrent accidents. It´s very important for the music student to know how to establish with easiness such logics between the relative tones, since the same ones are sufficiently useful for the application of scales and chords.
As a training for a better visualization of each one of these musical elements, complete the following exercises with the correct minor or major tones:
Complete with the relative minors:
C - Am
F -
Bb -
Eb -
Ab -
Db -
Gb -
Cb -
Complete with the relative major:
Am - C
In -
Bm -
F#m-
C#m-
G#m-
D#m-
A#m-
NATURAL MINOR, HARMONIC MINOR AND MELODIC MINOR SCALES
As we cite above, they are the three types of minor scales:
• Natural minor scale - It is the eolian mode, whose structure is F, 2M, 3m, 4J, 5J, 6m and 7m. This scale also can be called old or primitive minor scale. This scale does not have sensible, since it has only the 7m. This scale has the same seven modes of major scale, however the eolian will be considered as I degree. These are the modes of natural minor scale: I- eolian; II- locrian; III- Ionian; IV- dorian; V- Phrygian; VI- Lydian and VII- Mixolydian. In example 1, he is possible to find the interval structure of each mode of the natural minor scale.
• Harmonic minor scale - It is the eolian mode with the altered seventh degree, thus generating the artificial sensible. The resultant structure of this scale is: F, 2M, 3m, 4J, 5J, 6m and 7M. Between 6m and 7M of this scale, we can find a 2+ interval that is very characteristic of harmonic minor scale and is known as arabesque. Just like natural minor scale, the harmonic minor has seven modes, that are the following: I- eolian 7M; II- locrian 6M; III- Augmented Ionian; IV- dorian 11+; V- mixolydian 9b/13b; VI- lydian 9+; VII - locrian 4°/7°. In example 2, it´s possible to find the interval structure of each one of harmonic minor scale modes.
• Melodic minor scale - It is the eolian mode, however with the sixth and seventh altered degrees, generating the artificial sensible but eliminating the existing interval of 2+ between 6m and 7M, as it´s possible to find in the harmonic minor scale. the resultant interval structure of melodic minor scale is: F, 2M, 3m, 4J, 5J, 6M and 7M. This scale also is known as “jazz minor”, as a reference to the style where the melodic minor scale is wide used. The melodic minor scale modes are:I- dorian 7M; II- phrygian 6M; III- Aumengted Lydian; IV- mixolydian 11+; V- mixolydian 13b; VI- locrian 9M; VII- altered scale. In example 3, it is possible to find the interval structure of each mode of the melodic minor scale.
In the most part of harmony and musical theory methods made for students of classical music, we can find the melodic minor scale described as that who has major sixth and major seventh in ascending way, and minor sixth and minor seventh in the descending way. Thus, the scale that has major sixth and major seventh ascending or descending (just like the “jazz minor”) is called Bachiana. This boarding that considers different structures for the same one when this is in ascending or descending direction happens due to the need of resolution of determined notes of the scale, as it´s possible to see in the example below:
Most of the times, In minor tones we will have the three scales simultaneously working: natural minor, harmonic minor and melodic minor, with its chords and scales. Therefore, it´s very important for the music student to know the three scales and its modes. In the next columns, we will talk more about the details of harmonic minor and melodic minor scales. Doubts? Commentaries? Sugesttions? Send an e-mail to ivan@venegasmusic.com ! Hugs!
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