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In many respectsThe major scale has a similar issue - playing ascending from the tonic note, we do get pulled to the have a whole-whole-half pattern. The 3rd note; but because we are starting on definitely pulls us towards the 6th 4th note of via a half-step, the major scale, ascending we hit same way the 7th immediately, before a real tonality is establishedpulls us to the octave. Descending we reach But that whole-whole-half could easily be the 5th, 6th, 7th, and tonic note of the a different major scale before that 7thkey. We need more context to know and feel it.
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We will have Since the minor scale uses the same diatonic chords notes as the its relative major; howeverscale, it contains the same chords. For A Minor we have Am, Bdim, C, Dm, Em, F, and G. However, for analysis, their roman numerals are changed to represent the scale degree of the minor key:. For example, Am is now "i" instead of "vi". In terms of harmony, the chords of the minor scale function identically to the chords of the major scale that have the same scale degree, although they may lack as strong of the functions they exhibit in the major scale. The v - i is the same dominant - tonic resolution as V - I, just weaker.
Harmonically, the diatonic chords function exactly the same as the major key.
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Minor: w-h-w-w-h-w-w
== Relative Minor/Major ==
If you observed astutely, the whole-half pattern is exactly the same; it just starts on a different note:
1 2 3 4 5 6 7 1 2 3 4 5 6 7 8
Major: w-w-h-w-w-w-h w-w-h-w-w-w-h
Minor: w-h-w-w-h-w-w
1 2 3 4 5 6 7 8
So if you take any major key and play a scale starting on the sixth note, you have a natural minor scale. For the key of C Major, the sixth note is A. A-B-C-D-E-F-G-A is the A Minor scale.
C D E F G A B C D E F G A B C
Major: w-w-h-w-w-w-h w-w-h-w-w-w-h
Minor: w-h-w-w-h-w-w
A B C D E F G A
When two scales share the exact same set of notes, they are called <u>relative scales</u>. For any major scale, there is a relative minor and vice versa. A Minor is the relative minor of C Major.
== A Minor Scale in Open Position ==
E F G A B C D E F G A B C D E F G A
Playing one octave is a little new, but looking at all the notes in open position is exactly the same as C Major. Focus on playing the single octave ascending and descending, familiarizing the yourself with the minor tonality.
== Understanding Minor Tonality ==
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Now, remember what we said about the major scale - the major 7th as the 7th note wants to lead into the tonic. When playing the major scale, it is as if the tonic is a gravitational force, pulling melody and harmony towards it. So how can we play the same set of notes but not get pulled towards that note? In many respects, we do get pulled to the major scale's tonic note; but because we are starting on the 6th note of the major scale, ascending we hit the 7th immediately, before a real tonality is established. Thus, we avoid the issue.
Ultimately, in any scale that implies tonality, the strongest pull is towards the octave, regardless of the whole-half pattern used to get there. Beginning on the 6th note of the major scale establishes the 6th as the tonal center- thus it becomes the 1st note of the minor scale. This could be overridden if the melody or harmony demonstrated a goal of reaching the tonic note of the major key. Yet, without these things present, the 6th can remain minor scale has tonality and resolution on the tonal centertonic.
And remember, the scale itself isn't supposed to be a whole composition - it's simply the set of notes. Playing the scale ascending may not give us a strong euphoric resolution when we hit the tonic note, but a cleverly designed melody against a harmony that establishes the minor tonality will find a strong resolution on the tonic note.
The minor scale features a perfect 4th and perfect 5th, like the major scale, which assists in allowing it to establish its own tonality. The minor tonality may not be as strong as the major, but that's kind of the point. We want the minor key to sound different, to sound a little more tense, even when we reach the tonic note. The m3, m6, and m7 intervals are less harmonic than the M3, M6, and M7, making the key less "settling".
== Diatonic Chords and Harmonic Function ==
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{|class = "wikitable"
| G || VII - Leading || v || Dominant
|}
What's worth pointing out is that the natural minor scale contains a m7 instead of a M7, which weakens the tension created by the dominant-function chords and thus weakens the dominant - tonic resolution.
E---------------|----------------|--------------0-|------------
== Homework ==