1.7: Minor Scales
- Page ID
- 186169
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7.1 Introduction
In tonal music, the major scale is undoubtedly the most important and frequently used organization of pitches:
As you know from Chapter 6, the major scale is built using a specific pattern of whole steps and half steps: W-W-H-W-W-W-H. This pattern is used in every manifestation of the major scale.
The diatonic minor scale, on the other hand, is built using a different pattern of whole steps and half steps. As a result, it has a distinct and recognizable sound. In this brief chapter we will discuss the construction of a minor scale and its relationship to the major scale that begins on the same pitch class.
Note: Unlike the major scale, which is typically found only in the form described above, there are several common variants of the minor scale. We will discuss these variants at length in Chapter 17. For the time being, however, we will differentiate between these altered versions and the basic form of the scale by here using the term “diatonic minor scale.”
7.2 The diatonic minor scale
Because the major scale is so prevalent in tonal music, it is helpful to think of minor scales as being derived from the major scale that begins on the same pitch class—what is commonly referred to as the parallel major. Compare Example 7–2 and Example 7–3:
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Activity 7-1
Activity 7–1
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Take the following D-major scale, for example:
The parallel minor scale would therefore have F# lowered to F§,B§ lowered to Bb, and C# lowered to C§:
Exercise 7–1a:
Question
G-major scale:
Adjust the pitches as necessary to create a G-minor scale.
Hint
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Answer
Exercise 7–1b:
Question
Eb-major scale:
Adjust the pitches as necessary to create an Eb-minor scale.
Hint
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Answer
Exercise 7–1c:
Question
E-major scale:
Adjust the pitches as necessary to create a E-minor scale.
Hint
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Answer
Exercise 7–1d:
Question
Bb-major scale:
Adjust the pitches as necessary to create a Bb-minor scale.
Hint
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Answer
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7.3 Summary
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