chapter five: minor keys and the diatonic modes
Parallel keys: shared tonic
Parallel keys share the same tonic, but different key signature and different arrangement of whole and half steps.
*Important side note:
-Parallel keys share the same tonic
-Parallel-key pentachords share four scale degrees (1,2,4, and 5)
-The third scale degree of the minor pentachord is a half step lower then in the major pentachord
*Important side note:
-Parallel keys share the same tonic
-Parallel-key pentachords share four scale degrees (1,2,4, and 5)
-The third scale degree of the minor pentachord is a half step lower then in the major pentachord
Relative keys
Relative keys have different tonics, but share the same key signature and diatonic collection. To find the relative minor of any major key, identify scale degree 6 of the major scale: that pitch is the tonic of the relative minor or count down three half steps from the major-key tonic.
To find the relative major of any minor key, identify scake degree flat 3 of the minor scale: that pitch is the tonic of the relative major or count up three half steps from the minor-key tonic.
Variability in the minor scale
Natural minor is the scale whose accidentals exactly match the key signature of the relative major. Harmonic minor raised the seventh degree to create a leading tone; it is an augmented second, equivalent to a step and a half. Melodic minor differs in its ascending and descending forms. Ascending, the sixth and seventh scale degrees are reaised, corresponding exactly to the major scale. Descending, melodic minor is identical to natural minor.
In harmonic minor scales, accidentals may be mixed and double sharps may be necessary.
To identify a key:
-Look at the key signature, and think of both the major and minor key associated with it.
-Look at the beginning and end of the melody and bass line for motion to and from the major-key or minor-key tonic.
-Look for accidentals that might indicate the leading tone in minor.
SUMMARY:
-Natural minor: Same key signature as the relative major, no additional accidentals.
-Harmonic minor: Same key signature as the relative major, but raise the diminished seventh a half step to seven.
-Melodic minor, ascending: Same key signtaure as the relative major, but raise the diminished sixth and seventh to a six and seven.
-Melodic minor, descending: Same as natural minor.
To identify a key:
-Look at the key signature, and think of both the major and minor key associated with it.
-Look at the beginning and end of the melody and bass line for motion to and from the major-key or minor-key tonic.
-Look for accidentals that might indicate the leading tone in minor.
SUMMARY:
-Natural minor: Same key signature as the relative major, no additional accidentals.
-Harmonic minor: Same key signature as the relative major, but raise the diminished seventh a half step to seven.
-Melodic minor, ascending: Same key signtaure as the relative major, but raise the diminished sixth and seventh to a six and seven.
-Melodic minor, descending: Same as natural minor.
Scale degrees in minor
In natural minor, the seventh is referred to as the subtonic, a whole step below the tonic. When the sixth is raised in melodic minor, it is simply known as the raised submediant.
The minor pentatonic
Embedded within the natural minor scale is a five-note scale that is often heard in folk melodies. The melody includes 1,3,4,5, and 7, but is missing 2 and 6. These pitches make up a scale known as the minor pentatonic, because it consists of only five diatonic pitches and gets its sound from 1,3, and 5 of the minor scale. Below are a couple examples: