In Chapter 4, we learned about the major mode. In this chapter, we learn about the other mode most often used: the minor mode.

INTRODUCTION  6.1

Listen to “Dingy, Dingy, Little Star” in Example 6.1.

Example 6.1. “Dingy, Dingy, Little Star”

What do you notice about “Dingy, Dingy, Little Star”? Aurally and visually, how does it compare to “Twinkle, Twinkle, Little Star?”

• “Dingy, Dingy” sounds gloomy.
• Although the tonal center appears to be C, there are two flats. C major has no sharps or flats.

The fact that the music sounds gloomy and its tonal center does not match its major key signature tells us that this example is in the minor mode. Like the major mode, the minor mode has a distinct collection of pitches that revolve around a tonal center. Unlike the major mode, the pattern of steps that make up the collection is different.

NATURAL MINOR SCALE  6.2

The minor mode is based on the natural minor scale  which uses a completely different pattern than the major scale.

• Major scale: whole – whole – half – whole – whole – whole – half
• Natural minor scale: whole – half – whole – whole – half – whole – whole

Example 6.2.1. Scales

Because the pattern is different, the natural minor scale has its own distinct sound. Notice that the scale is called the “natural minor scale,” and not simply the “minor scale.” This is because there are three different types of minor scales. We will learn about the other two later in this chapter.

You will be asked to write (and perform) ascending and descending natural minor scales. The directions are the same for ascending and descending scales.

Steps to Writing a Natural Minor Scale

Step one: Write in all the notes diatonically. That is, write each note once and only once in ascending or descending order (alternate line–space or space–line). Do not skip any notes and be sure that the first and last notes are the same notes with the same accidentals.

Example 6.2.2. Step one

Step two: Write in the pattern of whole steps and half steps. Do not forget that for descending natural minor scales, the pattern must go in reverse order.

Example 6.2.3. Step two

Step three: Add accidentals. Natural minor scales will only contain sharps or flat—never both.

Example 6.2.4. Step three

Directions:

• Construct the following natural minor scales on the staff using half notes. Be aware of stem direction.
• First write in all the pitches diatonically so you do not repeat or skip any note names. Then add accidentals.
• If it helps, write in “w” for whole steps and “h” for half steps.
• You may use the keyboard below for help.

Click here to watch the tutorial.

MINOR KEYS  6.3

A natural minor scale is not only an organized way to write notes in alphabetical order. Just as the major scale, the natural minor scale is an organized way of telling us the contents of a musical key, which combines the tonal center and mode. We learned the following from Chapter 4:

• The tonic is the tonal center.
• The mode tells us the collection of pitches used based on a tonal center. The most common modes are the major mode and minor mode.
• The key combines the tonal center and the mode.

We can figure out the minor key by its natural minor scale.

Example 6.3.1. Natural minor scales

The pitch collection combined with the tonal center tells us the key.

• Example 6.3.1A: If we have a piece of music that centers around G with two flats, it is in the key of G minor. This is because the G natural minor scale has two flats.
• Example 6.3.1B: If we have a piece of music that centers around G-sharp with five sharps, it is in the key of G-sharp minor. This is because the G-sharp natural minor scale has five sharps.
  • Although there are six sharps in Example 6.3.1B, there are only five different sharps.

Ideally, you will be able to hear a musical example and tell if it is in major or minor. Example 6.3.2 and 6.3.3 are two famous classical works that are in minor keys.

Example 6.3.2. Minor key: Tchaikovsky^[1], Swan Lake, Act I, No. 9, Finale

Example 6.3.3. Minor key: Bizet^[2], L’Arlésienne Suite No. 1, I. Overture

Can you hear that the music in Examples 6.3.2 and 6.3.3 are in minor (i.e., are “sad”)? Even though one is slow and quiet while the other is fast and loud, they are both in minor. If you are not able to identify that they are in minor yet, do not fret. Understanding, writing, and hearing music all take time and practice. We will also learn how you can recognize if a piece is in minor without listening to it.

Just as in major, rather than constantly writing and rewriting accidentals within the score, musicians use key signatures to simplify writing (and reading) music in minor keys. A key signature is the group of flats or sharps located at the start of every system of music. Also like in major, we can figure out a minor key by its corresponding scale. The following examples show “Dingy, Dingy, Little Star” written with minor key signatures.

Example 6.3.4. “Dingy, Dingy, Little Star” with key signatures

The key signature tells us which notes always have accidentals. For musicians, seeing the key signature once at the beginning is much easier than reading numerous accidentals. Just as in major, accidentals in minor key signatures are globalized.

• Example 6.3.4A: At first glance, one may think the example is in B-flat major.
  • However, when we listen to the example, it sounds gloomy.
  • The final double bar line tells us that the piece ends on G. When we write out the collection of pitches beginning and end on G, we know that we are in G minor and not B-flat major.
  • Below the staff, write the minor key with a lower-case letter (see Example 6.3.4A)
• Example 6.3.4B: Notice that the letters of the note names are the same in Examples 6.3.4A and B. However, because of the key signature, Example 6.3.4B is in G-sharp minor, and not G minor.
  • Below the staff, you can also write the key with an upper-case letter followed by a lower-case m (see Example 6.3.4B).

When writing sentences, always write out the word “minor” and capitalize the name of the key: G minor, not g minor.

MINOR KEY SIGNATURES WITH FLATS  6.4

Like major key signatures, accidentals in minor key signatures must appear in a specific order and they must be placed on specific locations within the staff. Oftentimes, students will memorize major key signatures but not minor key signatures, which creates a disadvantage. If you are able to quickly identify and write all the major and minor key signatures, music theory will be much easier for you.

Key signatures will have either flats or sharps, not both. We will begin with minor key signatures with flats. Flats in minor key signatures always appear in the same order as they did in major:

Fortunately, the placement of the flats in a key signature is exactly the same in major and minor. Since there are seven different note names, there can be a maximum of seven flats in a key signature. The example below shows all the minor key signatures with flats.

Example 6.4.1. Minor key signatures from zero to seven flats

Notice that A minor has zero flats while A-flat minor has seven flats. While we could look at the penultimate flat for major keys with flats, there is no easy shortcut for minor keys with flats.

Now we will put together everything we have learned to figure out the key of a musical example in minor.

Example 6.4.2. Finding the key: Montgeroult^[3], Piano Sonata, Op. 5, No. 2, iii – Allegro agitato con fuoco

When figuring out the key of a given musical example, follow these steps:

1. Listen to the example: Does it sounds like it’s in major (happy) or minor (sad)?
   • Example 6.4.2 sounds like it is in minor. Although “angry” may be a better description than “sad,” this example does not sound happy.
2. Look at the key signature.
   • The key signature has four flats, which is the key of F minor.
3. Look at the first lowest note.
   • The first lowest note is F.
4. Look at the last lowest note.
   • The last lowest note is A-flat.

The first three steps point to F minor. In this case, using the last lowest note was not reliable. However, since three of the four steps led to F minor, the key is F minor. The steps are more dependable when used in combination.

Relative Keys

In Example 6.4.2, the last lowest note was A-flat. If we look at the key signature, we see that the two options for key signatures with four flats are F minor and A-flat major. Fortunately, the music sounds like it is in minor and the first lowest note is F, so we know the excerpt is in F minor.

When a major key signature and minor key signature are the same, such as A-flat major and F minor, that major key and minor key are relative keys.

• A-flat major is the relative major of F minor because both keys have four flats.
• F minor is the relative minor of A-flat major because both keys have four flats.

There are several steps to finding the relative key. Follow these steps to find the relative major of a given minor key. Let’s find the relative major of F minor.

1. Count up three half steps: F to F-sharp to G to G-sharp/A-flat. There are two options: G-sharp or A-flat.
2. Choose the key that skips one letter name and that shares the same accidentals.
   • If you skip one letter name moving up from F, you get A: F – (G) – A.
   • The key of F minor clearly cannot have sharps because if there is one sharp, it is always F-sharp. The relative major must have flats.

Therefore, the relative major of F minor is A-flat major, not G-sharp major. In addition, for this example, there is no such key as G-sharp major.

To find the relative minor of a given major key, follow the same steps but count down three half steps instead of up three half steps.

Let’s find the relative minor of D-flat major.

1. Count down three half steps: D-flat to C to B to A-sharp/B-flat. There are two options: A-sharp or B-flat.
2. Choose the key that skips one letter name and that shares the same accidentals.
   • If you skip one letter name moving down from D, you get B: D – (C) – B.
   • The key of D-flat minor clearly has flats. The relative major must also have flats.

Although it is important to know relative keys, you should ultimately memorize the fifteen minor keys as you did with the fifteen major keys.

Directions:

• Identify the minor keys. For minor keys, you only need to write a lowercase letter (e.g., d).

Click here to watch the tutorial.

Directions:

• Write the given key signatures on the staff.

Click here to watch the tutorial.

Directions:

• Write the relative major or minor key in the table.

Click here to watch the tutorial.

MINOR KEY SIGNATURES WITH SHARPS  6.5

Just as sharps in major key signatures, sharps in minor key signatures always appear in this order:

Fortunately, the placement of the sharps in a key signature are exactly the same in major and minor. Since there are seven different note names, there can be a maximum of seven sharps in a key signature. The example below shows all the minor key signatures with sharps.

Example 6.5.1. Minor key signatures from zero to seven sharps

Notice that A minor has zero sharps while A-sharp minor has seven sharps. As we did with minor keys with flats, it is handy to be able to figure out relative keys.

Let’s go through the steps to find the relative major of C-sharp minor.

1. Count up three half steps: C-sharp to D to D-sharp to E. There is only one option (E) since F-flat is not a key. We can go through the other steps to double check.
2. Choose the key that skips one letter name and that shares the same accidentals.
   • If you skip one letter name moving up from C, you get E: C – (D) – E.
   • The key of C-sharp minor has sharps, so its relative major must also have sharps.

Therefore, the relative major of C-sharp minor is E major; both keys have four sharps.

Now let’s go through the steps to find the relative minor of B major.

1. Count down three half steps: B to B-flat to A to A-flat/G-sharp. There are two options: A-flat or G-sharp.
2. Choose the key that skips one letter name and that shares the same accidentals.
   • If you skip one letter name moving down from B, you get G: B – (A) – G.
   • The key of B major has sharps. The relative major must also have sharps.

Therefore, the relative minor of B major is G-sharp minor; both keys have five sharps.

Now we will put together everything we have learned to figure out the key of a musical example in minor.

Example 6.5.2. Finding the key: Smetana^[4], Má Vlast

When figuring out the key of a single line, the steps are a little different.

1. Listen to the example: Does it sounds like it’s in major (happy) or minor (sad)?
   • Example 6.5.2 sounds like it is in minor.
2. Look at the key signature.
   • The key signature has one sharp, which is the key of E minor.

Since there is only a single line, we cannot look for the first lowest note and last lowest note. Instead, we must rely on our ears and the key signature.

Directions:

• Identify the minor keys. For minor keys, you only need to write a lowercase letter (e.g., b).

Click here to watch the tutorial.

Directions:

• Write the given key signatures on the staff.

Click here to watch the tutorial.

Directions:

• Write the relative major or minor key in the table.

Click here to watch the tutorial.

Notice the pattern between minor keys with flats and minor keys with sharps.

Example 6.5.3. Minor keys comparison

• Reading across, the note names are the same, but only one has an accidental.
  • e.g., D minor and D-sharp minor or E-flat minor and E minor
• The number of accidentals equals seven.
  • e.g., 1 flat plus 6 sharps or 5 flats plus 2 sharps
• A is the only note name that appears three times.
  • A minor has 0 accidentals; A-flat minor has 7 flats; A-sharp minor has 7 sharps.

Directions:

• Identify the minor keys. For minor keys, you only need to write a lowercase letter (e.g., e).

Click here to watch the tutorial.

Directions:

• Write the given key signatures on the staff.

Click here to watch the tutorial.

Directions:

• Write the relative major or minor key in the table.

Click here to watch the tutorial.

CIRCLE OF FIFTHS  6.6

In Chapter 4, we learned about the circle of fifths: a diagram that showed how all major keys were related by ascending or descending fifths. Now that we know that every major key has a relative minor, we can use the same circle of fifths diagram for minor keys and minor key signatures.

Example 6.6.1 Circle of fifths

Each key in Example 6.6.1 shows the major key and its relative minor. We can find the same information from the circle of fifths for minor keys as we did with major keys.

• Moving clockwise from A minor:
  • Each key is a fifth higher.
    • A fifth above B minor is F-sharp minor.
  • Each key adds a sharp.
    • B minor has 2 sharps and F-sharp minor has 3 sharps.
  • A minor (no sharps, no flats) moves clockwise to A-sharp minor (7 sharps).
• Moving counterclockwise from A minor:
  • Each key is a fifth lower.
    • A fifth below C minor is F minor.
  • Each key adds a flat.
    • C minor has 3 flats and F minor has 4 flats.
  • A minor (no sharps, no flats) moves counterclockwise to A-flat minor (7 flats).

We learned that the three keys on the bottom of the circle of fifths are enharmonically equivalent keys. There are also three minor keys that are enharmonically equivalent.

Example 6.6.2. Enharmonically equivalent keys in minor

E-flat minor is enharmonically equivalent to D-sharp minor. Since E-flat must have flats (since its tonic is E-flat) and D-sharp must have sharps (because its tonic is D-sharp), E-flat minor has six flats and D-sharp minor has six sharps.

Directions:

• Using the circle of fifths, fill in the table. If you do not need the circle of fifths and already have the key signatures memorized, even better.

Click here to watch the tutorial.

SCALE DEGREES  6.7

We learned about scale degrees in Chapter 4. Every note of a major scale has a scale degree number and scale degree name. Similarly, every note of a natural minor scale also has a scale degree number and name.

In Example 6.7, differences between the major scale and natural minor scale are in blue.

Example 6.7. Scale degrees

Although three pitches differ in Examples 6.7A and B, their scale degree numbers do not change. In addition, only one has a different scale degree name.

• The mediant ([latex]\hat3[/latex]) has the same scale degree name and number in major and in minor, although they are different pitches.
• The submediant ([latex]\hat6[/latex]) has the same scale degree name and number in major and in minor, although they are different pitches.
• Notice that [latex]\hat7[/latex] has the same scale degree number, but different scale degree names and pitches in major and minor.
  • In major, [latex]\hat7[/latex] is the leading tone.
  • In minor, [latex]\hat7[/latex] is the subtonic.

The difference between the leading tone and the subtonic cannot be overstated.

• As we learned, the leading tone is so named because it leads to tonic: the leading tone is only a half step below tonic.
• The subtonic is found only in minor and is so named because it is a whole step below tonic.
  • Recall that the supertonic is so named because it is a whole step above tonic.

We will later learn that the leading tone can actually be found in both major and minor. However, the subtonic is unique to minor keys.

In Chapter 4, we learned that solfège (e.g., do–re–me) is often used in aural training. The three notes that are different in the major scale and natural minor scale use different solfège syllables.

The differences between the major scale and the natural minor scale include the following:

• In major, [latex]\hat3[/latex] is mi; in minor, it is me.
• In major, [latex]\hat6[/latex] is la; in minor, it is le.
• In major, [latex]\hat7[/latex] is ti; in the natural minor scale, it is te.

Directions:

• Answer the following questions based on the given natural minor scale. If it helps, write in the scale degree numbers first.

1. Which note is the tonic?
2. Which note is the dominant?
3. Which note is the subdominant?
4. Which note is [latex]\hat6[/latex]?
5. Which note is [latex]\hat3[/latex]?
6. Why is [latex]\hat2[/latex] called the supertonic?
7. Why is [latex]\hat7[/latex] called the subtonic?
8. Which scale degree numbers have different pitches from this scale and the F major scale?

Click here to watch the tutorial.

PARALLEL KEYS  6.8

We learned that relative keys are major and minor keys that share the same key signature. Parallel keys are major and minor keys that share the same tonic (i.e., note name).

• The parallel minor of C major is C minor.
• The parallel major of F-sharp minor is F-sharp major.
• The parallel major of F-sharp minor is not G-flat major. The tonic (i.e., note name) must be the same, and not enharmonic equivalents.

We can discover the relationship between key signatures of parallel keys by comparing their scales.

Example 6.8.1. Scales of parallel keys

All the pitches are the same except for the three pairs of boxed notes, which we learned about in the last section. The relationship between parallel keys is that they differ by three accidentals.

• From a major key, add three flats (or its equivalent) to find the parallel minor.
• From a minor key, add three sharps (or its equivalent) to find the parallel major.

Since most students know major key signatures better, we will find minor key signatures based on the parallel major.

• What is the key signature of F minor?
  • The key signature of F major has one flat.
  • To find the parallel minor, add three flats (or its equivalent):
    • One flat plus three flats equals four flats.
  • Therefore, the key signature of F minor has four flats.
• What is the key signature of F-sharp minor?
  • The key signature of F-sharp major has six sharps.
  • To find the parallel minor, add three flats (or its equivalent): Since there are already six sharps, we cannot add three flats. Instead, we remove three sharps:
    • Six sharps minus three sharps equals three sharps.
  • Therefore, the key signature of F-sharp minor has three sharps.
• What is the key signature of G minor?
  • The key signature of G major has one sharp.
  • To find the parallel minor, add three flats (or its equivalent): Since G major only has one sharp, we cannot simply add three flats. Instead, we remove one sharp and add two flats:
    • One sharp minus one sharp plus two flats equals two flats.
  • Therefore, the key signature of G minor has two flats.

While some students find using parallel keys a great shortcut for figuring out minor keys, the problem is that not all keys exist when using parallel keys (Example 6.8.2). D.N.E. refers to “Does Not Exist.”

Example 6.8.2. Key signatures of parallel keys

Notice that some keys exist in major but not minor (e.g., D-flat major but not D-flat minor) and some keys exist in minor but not major (e.g., G-sharp minor but not G-sharp major).

Composers will sometimes take advantage of the parallel relationship between keys as seen in Example 6.8.3.

Example 6.8.3. Parallel keys: Szymanowska^[5], Dances for Piano, Cotillon

The cotillion dance in Example 6.8.3A begins in A-flat major. At measure 73 (Example 6.8.3B), Szymanowska changes the key signature to A-flat minor and writes a variation of the opening melody. She even labels the section “Mineur,” or “Minor” in French. Notice that although the notes appear the same on the page, the music sounds very different because of the key signatures.

In summary, there are three ways to figure out minor key signatures:

1. Figure out the relative major, which has the same key signature.
2. Figure out the parallel major and add three flats (or its equivalent).
3. Simply memorize all 15 minor key signatures. This is ultimately the best option.

Directions:

• In the blank, identify the parallel key and in the staff above, write the key signature for both keys.
  • For key signatures that do not exist, write DNE.

Click here to watch the tutorial.

HARMONIC MINOR SCALE  6.9

Example 6.9.3. Harmonic minor scales with key signatures

When there is a key signature, raising the subtonic to become the leading tone always requires an accidental on [latex]\hat7[/latex]. The accidental can be a natural (Example 6.9.3B), a sharp (Example 6.9.3A), or a double sharp (Example 6.9.3C).

Composers will sometimes use the harmonic minor scale in their music.

Example 6.9.4. Harmonic minor scale: Liebmann^[6], Piano Sonata No. 3, i – Allegro moderato

• The key signature tells us the key is in C minor.
• Liebmann uses a C harmonic minor scale from E-flat₅ to E-flat₄ (labeled above).

Sometimes composers will not use the entire harmonic minor scale, but only the portion that makes it different from the natural minor scale (i.e., the submediant and the leading tone, or le and ti).

Example 6.9.5. Ti and le: Dusikova^[7], A Second Set of Airs and a March Arranged as Rondos for Pianoforte, No. 1, Minore

Example 6.9.5 is in D minor. Notice that not only is the C in the treble clef raised with a sharp, but all Cs in the bass clef are also raised. Although every C has a sharp, the key signature does not change: D minor has one flat. In fact, the raised leading tone will never change the key signature. For example, the key signature of F minor has four flats. If we raise the leading tone, E-flat becomes E-natural, resulting in three flats. However, the key signature of F minor has four flats and not three flats.

Despite not being in the key signature, the raised leading tone is used in most pieces that are in minor. Again, this is due to the strong pull toward tonic. As a result, we can add another question to our list on how to analyze music.

Example 6.9.6. Analysis: Dussek, Harp Sonata, Op. 3, No. 3, iii – Rondo. Allegro

1. Listen to the example: Does it sounds like it’s in major (happy) or minor (sad)?
   • Example 6.9.6 sounds like it is in minor.
2. Look at the key signature.
   • The key signature has three flats, which is the key of C minor.
3. Do you see the raised leading tone?
   • In C minor, the raised leading tone is B-natural. Yes, there are two B-naturals in measure 69.
4. Look at the first lowest note.
   • The first lowest note is C.
5. Look at the last lowest note.
   • The last lowest note is C.

The third step is new: Do you see the raised leading tone? Although this step is fairly reliable, the excerpt may include a section that uses only the natural minor scale or does not include [latex]\hat7[/latex] (see Example 6.3.2 and 6.3.3). As usual, it is the combination of the steps on the list that makes for the most convincing analysis.

Directions:

• Complete the table.

Click here to watch the tutorial.

Directions:

• What is the key of the given excerpt? Use the steps we learned.

Vespermann^[8], Bunte Reihen, op. 6, I. Charakterstück

1. Listen to the example: Does it sounds like it’s in major (happy) or minor (sad)?
2. Look at the key signature. What is the key signature?
3. Do you see the raised leading tone? If so, what is it?
4. Look at the first lowest note. What is it?
5. Look at the last lowest note. What is it?
6. In what key is this excerpt?

Click here to watch the tutorial.

Directions:

• Identify and label the key followed by a colon.
• Label the types of G scales indicated by the brackets.

Mozart^[9], Piano Quartet in G Minor, K. 478,  i – Allegro

Click here to watch the tutorial.

When we learned how to write the natural minor scale, we used whole steps and half steps. However, now that we know the minor key signatures (which are based off the natural minor scale), it is much easier to write harmonic minor scales from the minor key signature.

Step one: Write in all the notes diatonically once and only once in ascending or descending order (alternate line–space or space–line). Do not skip any notes and be sure that the first and last notes are the same notes with the same accidentals.

Example 6.9.7. Step one

Step two: Write in the accidentals that belong to its minor key. In other words, think of the minor key signature and apply every accidental from that key signature. This creates the natural minor scale. C minor has three flats and C-sharp minor has four sharps.

Example 6.9.8. Step two

Step three: Raise the leading tone: you may need to erase a flat or add a sharp or double sharp. If there is a key signature, you might need to add a natural sign.

Example 6.9.9. Step three

• In Example 6.9.8A, [latex]\hat7[/latex] in the C natural minor scale was B-flat. When raising [latex]\hat7[/latex], B-flat becomes B (Example 6.9.9A). A natural sign is not necessary because there is no key signature.
• In Example 6.9.8B, [latex]\hat7[/latex] in the C-sharp natural minor scale was B. When raising [latex]\hat7[/latex], B becomes B-sharp (Example 6.9.9B).

Directions:

• Using half notes, construct the following harmonic minor scales on the staff with accidentals. Do not add a key signature. Be aware of stem direction.

Click here to watch the tutorial.

Directions:

• Add a key signature but no time signature.
• Using whole notes, write the given harmonic minor scales (ascending only).

Click here to watch the tutorial.

MELODIC MINOR SCALE  6.10

When we first wrote the major scale and the natural minor scale, we used whole steps (w) and half steps (h).

Example 6.10.1. Whole steps and half steps

When we wrote the harmonic minor scale, we started with a natural minor scale (based on the minor key signature) and raised the leading tone. However, notice the special distance between the submediant and leading tone that occurs.

Example 6.10.2. Harmonic minor scale

The distance between F and G-sharp is more than a whole step. In fact, it is made of three half steps. Listen again to the harmonic minor scale: do you hear the large gap of three half steps?

In order to avoid this large gap, we also raise [latex]\hat6[/latex], creating the melodic minor scale.

Example 6.10.3. Raising [latex]\hat6[/latex]: The melodic minor scale

Compare [latex]\hat6[/latex] from Example 6.10.2 to Example 6.10.3. Notice the F has been raised to F-sharp. Now, the large gap of three half steps disappears.

Listen to Example 6.10.4: do you hear that the last half sounds like the major scale? Compare the first half of Example 6.10.4 to the natural minor scale in Example 6.10.1B and the second half of Example 6.10.4 to the major scale in Example 6.10.1A.

Example 6.10.4. Ascending melodic minor scale

Recall that the harmonic minor scale was formed in order to raise the subtonic to become the leading tone so that it led up to tonic by half step. However, when descending from tonic, there is no need to raise the leading tone since [latex]\hat7[/latex] is no longer leading up to tonic. And since [latex]\hat7[/latex] is not raised, [latex]\hat6[/latex] also has no need to be raised. For this reason, the melodic minor scale is different when it ascends and when it descends.

Example 6.10.5. Melodic minor scale

• When ascending, [latex]\hat6[/latex] and [latex]\hat7[/latex] are raised so they appear as they do in the major scale.
• When descending, [latex]\hat6[/latex] and [latex]\hat7[/latex] return back to how they appear in the natural minor scale. Notice that the natural sign must be used in Example 6.10.5.

Examine the following melodic minor scales and which accidentals are used.

Example 6.10.6. Melodic minor scales

• Example 6.10.6A:
  • In G minor, the submediant is E-flat. However, for the ascending melodic minor scale, it is raised to E. We do not need a natural sign since there is no key signature.
  • When descending, a natural sign is required for F since it was previously F-sharp. In addition, E-flat returns.
• Example 6.10.6B:
  • In G-sharp minor, [latex]\hat6[/latex] and [latex]\hat7[/latex] are raised to E-sharp and F-double-sharp when ascending.
  • When descending, F-sharp and E-natural (from the melodic minor scale) return.

Example 6.10.7 shows the scales from Example 6.10.6 with key signatures.

Example 6.10.7. Melodic minor scales with key signatures

When there is a key signature, the altered notes become obvious. Only [latex]\hat6[/latex] and [latex]\hat7[/latex] have accidentals. The raised accidental can be a natural, a sharp, or a double sharp. The lowered accidental can be a sharp, a natural, or a flat.

Some students find it helpful to think of the melodic minor scale in terms of solfège for [latex]\hat5[/latex]–[latex]\hat6[/latex]–[latex]\hat7[/latex]–[latex]\hat1[/latex].

• While ascending, the four syllables would be sol-la-ti-do. In minor, this means le must be raised to la and te must be raised to ti.
• While descending, the four syllables would be do-te-le-sol, which means they must return to the natural minor.

Many melodies in minor will use the [latex]\hat5[/latex]–raised [latex]\hat6[/latex]–raised [latex]\hat7[/latex]–[latex]\hat1[/latex] (sol-la-ti-do) of the ascending melodic minor scale, as in Dukas’s famous The Sorcerer’s Apprentice.

Example 6.10.8. Ascending melodic minor scale: Dukas^[10], The Sorcerer’s Apprentice

Example 6.10.8 is in F minor. As the melody ascends from [latex]\hat5[/latex] (C) to [latex]\hat1[/latex] (F) in measures 74-75, [latex]\hat6[/latex] (D) and [latex]\hat7[/latex] (E) are raised, utilizing the melodic minor scale (sol-la-ti-do).

Composers can make use of both the ascending and descending melodic minor scale, as in Example 6.10.9.

Example. 6.10.9. Melodic minor scale: Puget^[11], La Chanson du Charbonnier

A. Opening

B. Vocalist’s opening

Puget’s song is in A minor and as usual, we see a number of raised leading tones (circled G-sharps).

• Example 6.10.9A: In the piano introduction, Puget raises [latex]\hat6[/latex] and [latex]\hat7[/latex] in measure 3 as [latex]\hat5[/latex] ascends to [latex]\hat1[/latex] (sol-la-ti-do). These four notes belong to the ascending melodic minor scale (as well as the major scale).
• Example 6.10.9B: The vocalist begins in measure 9 and utilizes the descending melodic minor scale as [latex]\hat6[/latex] and [latex]\hat7[/latex] are no longer raised. These four notes—[latex]\hat1[/latex] descending to [latex]\hat5[/latex] (do-te-le-sol)—also belong to the natural minor scale.

Like the harmonic minor scale, the accidentals used to raise [latex]\hat6[/latex] and [latex]\hat7[/latex] do not change the key signature. In Example 6.10.9A, every F and G that appear are F-sharp and G-sharp. However, the key signature for A minor does not have any sharps; A minor has zero sharps.

Directions:

• Identify and label the key followed by a colon.
• Identify and label parts of the ascending or descending melodic minor scale.

Wieck Schumann^[12], Piano Sonata in G Minor, i – Allegro

Click here to watch the tutorial.

Steps to Writing a Melodic Minor Scale

As we did with harmonic minor scales, we will write melodic minor scales based on the minor key signature.

Step one: Write in all the notes once and only once in ascending and descending order (alternate line–space or space–line). Do not skip any notes and be sure that the first and last notes are the same notes with the same accidentals.

Example 6.10.10. Step one

Step two: Write in the accidentals that belong to its minor key. In other words, think of the minor key signature and apply every accidental from that key signature. This creates the natural minor scale. B-flat minor has five flats.

Example 6.10.11. Step two

Step three: Raise [latex]\hat6[/latex] and [latex]\hat7[/latex] on the way up, and return [latex]\hat7[/latex] and [latex]\hat6[/latex] back to the natural minor on the way down.

Example 6.10.12. Step three

• When ascending, [latex]\hat6[/latex] (G-flat) and [latex]\hat7[/latex] (A-flat) are raised to G-natural and A-natural. The natural signs are not necessary, since there is no key signature. In this case, you would simply erase the flats.
• When descending, return to the natural minor scale, restoring the flats back to [latex]\hat7[/latex] (A-flat) and [latex]\hat6[/latex] (G-flat).

Directions:

• Construct the following melodic minor scales on the staff using whole notes.
  • For all melodic minor scales, always write the scale both ascending and descending.
  • Use accidentals; do not use a key signature.
  • Do not add a time signature.
  • Do not add bar lines.

Click here to watch the tutorial.

Directions:

• Write the key signature for the given keys.
• Construct the following melodic minor scales on the staff using whole notes.
  • For all melodic minor scales, always write the scale both ascending and descending.
  • Do not add a time signature.
  • Do not add bar lines.

Click here to watch the tutorial.

Directions:

• Construct the following ascending minor scales on the staff using whole notes.
  • Use accidentals; do not use a key signature.
  • Do not add a time signature.

Click here to watch the tutorial.

Directions:

• Write the key signature for the given keys.
• Construct the following ascending minor scales on the staff using whole notes.
  • Do not add a time signature.

Click here to watch the tutorial.

TRANSPOSITION: MODAL  6.11

At the start of this chapter, we began with a familiar tune (“Twinkle, Twinkle, Little Star”) but with a few added accidentals, which changed the entire mood of the song to “Dingy, Dingy, Little Star.” By doing so, we used modal transposition, which refers to changing the mode from major to minor (or vice versa).

There is only one scale degree number that is uniquely in minor at all times: [latex]\hat3[/latex]. The other two scale degrees that are lowered in minor ([latex]\hat6[/latex] and [latex]\hat7[/latex]) are only lowered when they are not ascending to tonic ([latex]\hat1[/latex]). Otherwise, they are raised as they are in major.

Compare Examples 6.11.1A and B, which show the start of “London Bridge is Falling Down” in major and minor.

Example 6.11.1. Major to minor: “London Bridge is Falling Down”

A. In major

B. In minor

• In minor, [latex]\hat3[/latex] is always lowered, even if it is ascending. In the key of C major, lowered [latex]\hat3[/latex] is E-flat.
• In Example 6.11.1B, [latex]\hat6[/latex] is also lowered because it is not rising up to [latex]\hat7[/latex]. Instead, [latex]\hat6[/latex] returns back to [latex]\hat5[/latex], so it is lowered as it is found in the natural minor scale.

Now compare Examples 6.11.2A and B, which show the start of “Joy to the World” in major and minor.

Example 6.11.2. Major to minor: “Joy to the World”

A. In major

B. In minor

• Example 6.11.2A:
  • Since “Joy to the World” is in G major, there are no added accidentals.
• Example 6.11.2B:
  • In minor, [latex]\hat3[/latex] is always lowered. In the key of G major, lowered [latex]\hat3[/latex] is B-flat.
  • In measure 1, [latex]\hat7[/latex] and [latex]\hat6[/latex] are lowered because they are descending. F(-natural) and E-flat belong to the natural minor scale (or the descending melodic minor scale).
  • In measure 3, [latex]\hat6[/latex] and [latex]\hat7[/latex] are raised because the line is rising up to [latex]\hat1[/latex]. The notes in measure 3 belong to the ascending melodic minor scale.
  • The accidentals are courtesy accidentals: they are not required because the key signature already gives us this information, but are used as confirmation.

Alternatively, for modal transposition, you can use the key signature of the parallel key. When doing so, you will use different accidentals (Example 6.11.3).

Example 6.11.3. Parallel key: “Joy to the World”

• With the key signature for G minor, no accidentals are necessary in the first two bars as the melody is simply a descending natural minor scale.
• However, in measure 3, [latex]\hat6[/latex] and [latex]\hat7[/latex] are raised as [latex]\hat5[/latex] ascends to [latex]\hat1[/latex] (sol-la-ti-do), utilizing the melodic minor scale.

Directions:

• Add accidentals to transpose the following example into minor.
• Begin by writing the key, adding scale degree numbers, and taking note of [latex]\hat3[/latex], [latex]\hat6[/latex], and [latex]\hat7[/latex].

Offenbach^[13], Geneviève de Brabant, Act II, Couplets des hommes d’armes

Click here to watch the tutorial.

You can also transpose music from minor to major. Rather than lowering [latex]\hat3[/latex], [latex]\hat6[/latex], and [latex]\hat7[/latex], raise [latex]\hat3[/latex], [latex]\hat6[/latex], and [latex]\hat7[/latex].

Example 6.11.4. Minor to major: Beethoven^[14], Symphony No. 5 in C Minor, Op. 67, i – Allegro con brio

A. In minor

B. In major

Listen to Example 6.11.4B, where every [latex]\hat3[/latex] and [latex]\hat6[/latex] are raised. Hearing such a famous tune in another mode may sound humorous and is very simple to do.

Composers sometimes take advantage of modal transpositions. Earlier in the chapter (Example 6.5.2), we learned that the opening of Smetana’s Má Vlast was in E minor. Later in the work, Smetana transposes the melody to E major. Rather than adding multiple accidentals, he simply changes the key signature to the parallel major.

Example 6.11.5. Parallel keys: Smetana, Má Vlast

A. In minor

B. In major

At first glance, the notes appear to be the same. However, because of the key signature, there are important difference.

Directions:

• Add accidentals to the opening of the Mozart symphony below to transpose it into major.
• Begin by writing the key, adding scale degree numbers, and taking note of [latex]\hat3[/latex], [latex]\hat6[/latex], and [latex]\hat7[/latex].

Mozart, Symphony No. 40 in G Minor, K. 550, i – Allegro molto

Click here to watch the tutorial.

ANALYSIS  6.12

We have already practiced the steps when trying to figure out the key to a given excerpt. As music students, you will usually listen to the example while looking at it to decide the key. However, sometimes you will not be able to listen to the example. You should still be able to identify the key by following these steps.

1. Look at the key signature and take note of the two choices you have with that key signature. There will be a major key and minor key.
2. Look at the first lowest note, especially if it is the beginning of the piece. Does it begin on tonic (i.e., [latex]\hat1[/latex])?
3. Look at the last lowest note, especially if it is the end of the piece. Does it end on tonic (i.e., [latex]\hat1[/latex])?
4. Look for a raised leading tone. If the example is in minor and has [latex]\hat7[/latex], it should be raised unless it is descending.

Let’s use these steps to determine the key for two examples. Do not listen to the examples first.

Example 6.12. Determining the key: Blahetka^[15], Variations brillantes sur un thême hongrois, Op. 18

A. Introduction

B. Theme

• Example 6.12A:
  • The key signature gives us two options: C major or A minor.
  • The example is the start of the movement and the first lowest note is C.
  • The last lowest note is C, so this example may be in C major. However, this is not the end of the movement.
  • If this example were in A minor, we would see the raised leading tone, or G-sharp. G appears numerous times, but is never raised.
  • In conclusion, this example is in C major.
• Example 6.12B:
  • The key signature gives us two options: C major or A minor.
  • The first lowest note is A. However, this is not the first bar of the movement.
  • The last lowest note is E, which is not C or A. However, when we look at the E, we see that it is beamed to a lower note that falls on a strong beat, A. Therefore, we can say that the excerpt ends on A.
  • If this example were in A minor, we would come across the raised leading tone, or G-sharp. There are two Gs in this example, and they are both raised.
  • In conclusion, this example is in A minor.

None of these steps to determine a key are 100% reliable on their own.

• The example may be a snippet that does not have [latex]\hat1[/latex] as the lowest note.
• Later, we will encounter examples where the key signature does not match the key.
• We will come across many accidentals that are not raised leading tones.

For now, keys of musical examples will be fairly obvious. As we move through the chapters, determining the key will become more difficult.

Directions:

• Identify the keys of the following examples as quickly as possible without listening to them. In a few sentences, explain why you chose the key.

1. Blahetka, Variations brillantes sur un thême hongrois, Op. 18, Variation 3

2. Blahetka, Variations brillantes sur un thême hongrois, Op. 18, Coda

Click here to watch the tutorial.

SUMMARY

1. 1. 1. In addition to the major mode, the minor mode is the most common mode we will be studying. [6.1]
      2. Although there is only one type of major scale, there are three types of minor scales. A natural minor scale is made of the following diatonic steps in ascending order: whole – half – whole – whole – half – whole – whole. [6.2]
      3. Minor key signatures are based on the accidentals created by the natural minor scale. [6.2]
      4. Minor keys share the same key signature as their relative major. To find the relative major, count three half steps up. [6.3, 6.4, 6.5]
      5. The circle of fifths is a diagram that shows the relationship between keys. [6.6]
         • Moving clockwise, the key ascends by five and adds a sharp.
         • Moving counterclockwise, the key descends by five and adds a flat.
      6. Although three notes are lowered in the natural minor scale, only one has a different scale degree name: the subtonic ([latex]\hat7[/latex]). [6.7]
      7. Parallel keys share the same tonic but differ by three accidentals. [6.8]
      8. The harmonic minor scale begins with a natural minor scale, then raises [latex]\hat7[/latex] to become the leading tone. [6.9]
      9. The melodic minor scale begins with a natural minor scale, then raises [latex]\hat6[/latex] and [latex]\hat7[/latex] on the way up, and returns back to the natural minor scale on the way down. [6.10]
      10. You can make any major tune into minor by modal transposition: always lower [latex]\hat3[/latex], and lower [latex]\hat7[/latex] and [latex]\hat6[/latex] when they are descending. [6.11]
      11. When analyzing music, you must always determine the key. There are several shortcuts you can use to help you identify the key. [6.12]

TERMS

• • • harmonic minor scale
    • melodic minor scale
    • minor key
    • minor mode
    • modal transposition
    • natural minor scale
    • parallel keys
    • relative keys
    • subtonic