Minor Scales
The minor scale, also called the Aeolian mode, is closely related to the major scale. As you learned earlier, major and minor scales are “relative” keys. The difference lies in the start and stop points and in the positioning of the scale degrees. For example, the note E in the key of C major is a major third. The note E in the key of A minor (the relative minor of C) is a perfect fifth.
Do not confuse relative minor/major with parallel minor/major. Parallel refers to two keys that have the same start point or tonic (e.g., C major and C minor). However, parallel major/minor keys are not related by key signature.
For instance, if you compare C major and C minor, you will notice that C major contains no sharps or flats, but C minor contains three flats.
Minor scales are broken up into three categories: natural, harmonic, and melodic.
Beginning on the root, the natural minor scale consists of the following intervals: whole, half, whole, whole, half, whole, whole. Take a look at A minor on the piano. This key uses all white notes. From A to B, there is a whole step. From B to C, there is a half step. From C to D, there is a whole step. From D to E, there is a whole step. From E to F, there is a half step. From F to G, there is a whole step, and from G to A, there is a whole step. This is shown to you in FIGURE 4-6.
FIGURE 4-6: Ascending A Natural Minor Scale
The harmonic minor is more exotic sounding, since it includes one accidental. Instead of playing a minor seventh, you will play a major seventh or leading tone. In the key of A minor, the harmonic scale will include a G sharp. FIGURE 4-7 illustrates this.
FIGURE 4-7: Ascending A Harmonic Minor Scale
The melodic minor scale retains the minor third scale degree. However, it mimics a major scale on the sixth and seventh scale degrees. Traditionally, this occurs only when the scale ascends. In other words, the sixth and seventh scale degrees are altered only when you travel up the keyboard. When descending, the natural minor scale is used.
In the modern era, the melodic minor may be used when soloing over specific chord types. In this setting, it can be used when ascending and descending. The melodic minor scale is particularly effective when soloing over minor +7 chords (often called minor-major chords), suspended flat 9 chords, major +5 chords, dominant seventh +11 chords, half-diminished chords, and various “slash” chords. In this context, the pluses used above mean “sharp.”
Minor keys have long been associated with sad and ominous music. Likewise, major keys have long been associated with sunny and uplifting music. There is some truth to these generalizations. However, far too many exceptions occur to label all minor-keyed songs “sad” and all major-keyed songs “happy.”
The chords described above are very advanced. At this point, you are not expected to know what these chords mean or how to use them. However, they have been included for future reference. For now, just get acquainted with the melodic minor scale. FIGURE 4-8 shows you an A melodic minor scale as it is written traditionally.
FIGURE 4-8: Ascending and Descending A Melodic Minor Scale
You should be fluent with the natural, harmonic, and melodic minor scales in all keys. However, documenting all three scales for all fifteen keys would require notating forty-five scales. Since this is beyond the scope of this book, FIGURE 4-9 shows you the fingering and proper notation for the two minor scales used later in this text. They are C minor and A minor, respectively.
FIGURE 4-9: C Minor and A Minor Scales
