Again a great lesson. And yet, I heard that jazz players would play the melodic minor scale both ascending and descending. And of course, who was ahead of his time? Bach. Some music schools call this the Bach Minor scale.
@@MusicMattersGB I'm glad you kept this video simple without that fact, since it is really trivial for beginners. I made the mistake of watching too many jazz videos when I first started out. I was able to play seventh chords, but I didn't have mastery over triads. I'm making up for lost time.
Most music theory isn't as confusing as it sometimes sounds once you take a good look at it, but these three harmonic scales continue to throw me. Thanks for explaining!
It's all about grammar when it comes to music. As a guitarist, a scale is a group of ascending and descending notes that are used for the creation of melody. They are also the building blocks for harmony, and chords can be built from them. When learning about music and scales, it's important to get to know the notes and where all the notes are before delving deeper.
Always learn so much from these videos, even after playing music all these years! I'm going to look out for the natural minor now, which I wasn't really aware of before: any famous examples?
Brilliant! Thank you for this! Excellent lesson! Very clear, simple, slow, and easy to follow! Great teacher with a relaxing voice as well. I will surely be watching more to brush up on stuff! Currently back into music after playing trombone for like 15 years through school and having a hiatus. Now I'm doing a great deal of theory and this is so helpful! 😁👍🏻
I'm VERY grateful for this explanation. There is a big pitfall in jazz theory where they show you how to "harmonize the melodic minor" and how "x chord is based on the third mode of the melodic minor scale." While this harmonization may be useful for expanded harmony, it is a misleading and inadequate explanation of the original function of the scale. You put it perfectly. Baroque composers wanted the juicy natural 7th leading tone to tonic in minor, but then had to "make up" for that awkward misspelled 3rd(b6-nat7) by using a natural 6th for lines or "melodies." THANK YOU.
That’s really kind. There’s much more at www.mmcourses.co.uk including details of our 25 online courses including Theory, Aural, Analysis, Orchestration, Counterpoint etc and details of our Maestros group.
Just to confuse the natural minor even more, I understand what you mean by 'we aren't talking about modes,' that's true it isn't the Phrygian mode. However it is the Aeolian mode with that key signature whether you think of modes being an alteration of the major scale or just the sixth mode relating to G doesn't really matter. I'm sure you get where I am coming from hopefully.
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Hi Garret, nice class! It is right that are three minor scales (natural minor, harmonic minor, melodic minor) and minor modes (Dorian minor, Phrygian mode, Aeolian mode, Locrian mode) and alt minor modes. So, I consider the minor scales more than 3...in the same way the triads (Mayor, minor, diminish, augmented, Mayor b5, Sus2, sus4)... however, it is complete right to define them as the way you said it... greetings from Tijuana!
Also called the aoelian mode. In Folk music but also medieval and Renaissance music. Thanks again. Hope my comment helpful to some. Some folk/Renaissance music isn't strictly modal. Seventh note sharpened and not sharpened, depending on melody or intervals between parts in Renaissance music. I suppose a lot of it is down to the instinct of the composer, and his/ her influences. Many pieces of music will use more than one minor scale. Playing and listening while following score really helpful in getting to understand minor tonality. Not an easy thing to explain. Very brave of you, thanks.
A pleasure. In the late Renaissance period musica ficta was the description of changes to accidentals within modes. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Unfortunately the question in the title was not really answered. Yes, harmonic minor seems to be used for harmony quite often and melodic minor for melodies. But why? Why not use the natural minor for everything instead? This is why I clicked this video.
The reasons are explained in the video eg the problems around the augmented 2nd. Natural minor is a good option. Most composers since 1600 have gone for the harmonic/ melodic options.
@@MusicMattersGB Alright, thank you. But it would've been great if you did a deep dive on that. I think anybody watching that videos knows what those 3 scales are, just not the reason for their existence. So, the most important info got the least amount of time.
There's also the Jazz Minor Scale for performance. Melodic Scale both ascending and descending. It's all very complicated when it comes to Jazz scales and all the modes.
Thank you for your generous comment. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
This provided the what are the scales and the why they are named Harmonic and Melodic. However the true reason why there is the harmonic minor and melodic minor scales was not really answered. Why did they create the scales. Why did they adjust the natural minor scale to create these scales. The reason is to provide the leading tone back to the tonic melodically and harmonically make chord the more powerful dominant (major) chord vs in natural minor it is a minor 7th chord which is a weaker resolution/cadence. So in the key Am E7 > Am (harmonic minor) Em7 > Am is a weak resolution. (natural minor) Why melodic ascending? Because they wanted the leading tone but without the aug 2nd interval between 6-#7. So raise the 6th to reduce the interval to a major 2nd. (this was explained in the video) Why natural descending? Because they don't need the leading tone since the leading tone leads by semi-tone UP to the tonic. Descending it does not have that function so revert to the natural scale of the key.
It's fascinating when i watch these videos, that 'odd' interval sounds better to me than the altered one in the melodic ...coming from a different culture shows in these cases i guess...it takes some effort to reset my ear to it.
The best way to explain these concepts are through: (1) Examples in recognizable songs/arrangements in which the application of the scale/mode is utilized in the melodies/harmonies of that song/arrangement. Learning scales/modes in isolation seem to abstract and disconnected to me.
Great- but, the natural minor is a mode- the Aeolian mode and is used far and wide in modern day music. It is in fact the predominant key/mode in chart music today and in particular, adverts and film music.
Question: What advice would you give for improvising in minor keys? Do you suggest keeping track of ascending to the tonic or descending away from the tonic? How do you avoid becoming confused?
Minor keys present greater challenges than major keys. It’s not so much about dealing with the tonic but really about matching the 6th and 7th degrees of the scale when balancing melodic and harmonic minors. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Great video.. . I like the use of " raise " rather than #. It is very clear. A while back. These are some ways I have worked it out by myself. A very quick way I developed by myself is to see the ascending minor thirds..great for Diminished chords. If I'm in C. I see the Eb as the min 3. So that will be key signature of 3 flats. One and a half steps up. Of course great way to learn the min triads too. 1 b3 5. Thru self study. I noticed that all 3 minor scales all had the same first 5 notes. Natural. Melodic and Harmonic. It's hard to see this in Am. ( It's just the Aolian mode of C) It took me along time to understand the modes. Aolian is the sixth mode of major scale. The Aolian mode of C major is 6 to 6. (A B C D E F G A) Natural minor. .. It really just is min 3rd to min 3 of the parent scale C. I say unfortunately.. because the A major scale itself has been bypassed. ( A B C# D E F# G# A). But there is good with the bad. We all know that the min. 3 of all 3 min scales. (Natural, Melodic, and Harmonic ) is lowered. That gives the minor sound. The good news is you can say the major scale of A to A and just lower the 3. and voila, the melodic minor ascending is scale. ( A B (C) D E F# G# A). The Harmonic minor scale of A ascending is ( A B C D E F G# A)..There are some rules about ascending and descending that jazz totally disregards. I just wrote ascending..Another thing I have observed is the C natural minor scale with the the the min 7 the (Bb) the note B on the white keys turns it into the leading tone of the C scale..which is part of the G chord G B D.. The major third of this G the V is the leading tone B of the C scale. A while back I notice that Autumn leaves in Bb key signature had a E7 dominant when the A harmonic was being used. I wrote out the five Diatonic 7 the A harmonic minors. Basically just going in A harmonic scale and using the notes of the A harmonic minor. I knew I had to wind up with the E7. (A B C D E F# G# A). A C E G# B D F# A C E G# B D F# A C ((E G# B D)). Wow .a E7 . The Dom 5 chord of the A harmonic minor scale.
@@MusicMattersGB Thanks..once in a while I get inspired. I found that the min7b5.. fit the harmonic scale too. It's really important to know all 12 of the major scales. Everything came from it. Pythagoras invented the Pentatonic scale; which was used in the Greek theatre. The math that this required was pretty much amazing. I developed .. probably not original the 2.5 3.5 way to learn all the 12 scales very quickly if you sitting at the piano. I deserve a 🍪.
The whole matter happens on the 6th and 7th degree. They change in the upper and lower direction. The 3 rd degree is left minore... otherwise it becomes a major scale.
Thanks. Use the scales as the basis of the chords by adding the 3rd and 5th above each scale note. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank you for a useful explanation of the 3 minor scales. I like the sound of minor melodies, but the Melodic Minor Scale makes me nervous when composing a melody. If the melody line isn't clearly moving up or down a scale what happens to the accidentals? What happens when the Harmonic Minor Harmony conflicts with the Melodic Minor melody? I know Gareth has touched on some of these subjects in previous videos, but I hope more examples will be forthcoming in future videos. Gareth is a wonderful teacher!
@@MusicMattersGB Furthering this question - best practice? compromise the harmonic harmony in favor of the harmonizing with the melodic melody? Sounds funny I know, but I think you know what I mean.
All very interesting and taught very well. The explanation of modes, though incidental here, was the first clear one I've ever heard. Are they always really so simple? Just the white notes?
How do I know if the key signature indicates a major or minor scale? For example, a piece of music that has NO sharps or flats could be a C Major A minor. Music with one sharp could be a G Major or E Minor. Does it depend on the 1st note of the composition?
Khasab; good point. I don't want to criticise the video because he explains very well. But I think the melodic minor scale is a strange invention. From what I understood, the sixt note of the scale was raised because the interval between the sixt and the seventh note of the harmonic minor scale was hard for vocalists to sing. Downward they used the natural scale because the melodic scale is very hard to sing downwards. Personally I think the harmonic-and melodic minor scales are just variations of the minor scale. Composers would only have considered what sound best and since it was discovered that the raised seventh note acted as a leading note they would of course use it in their compositions. Music theory was invented to try to explain what makes music sound good or what doesn't.
Absolutely. Worth remembering that the clue is in the title ie harmonic minor is about harmony; melodic minor is about melody. The two are interchangeable but the augmented 2nd in the harmonic minor rarely sounds good in melodic writing and the Dominant chord usually works better as a major chord.
Hi Garth, I have a question. of the well established scales we have now, were there during the years of the theory; any scales or chords that were used/popular, that ended up not being adapted into modern theory? Also, what or rather how is baroque music typicallyed wrote in terms of scales?
Major and minor keys were established in the years following 1600 so they are the basis of Baroque music and indeed form the basis of Western music up to 1900. The modes of pre Baroque music more or less evaporated other than in folk music until a twentieth century revival in differing musical genres.
I learned all this many years ago and I understand the theory, but I have a question that I've never found an answer to in all those years. Where do we see the melodic minor being used in practice? In what pieces can we hear ascending notes which are different to when the melody is descending? I'm not sure I've ever found any actual examples.
@@MusicMattersGB I'm scouring my French Suites as we speak. I know it comes up in a couple of of the four-part harmony videos, but I haven't spotted it yet in melody. May I suggest this would make an interesting video for you to make? The melodic minor in action.
Surely the easiest way to explain the natural minor is just that it uses all the notes of its relative major, but starting on the sixth scale degree of the major instead of the first. Which leads nicely into the idea of modes. Talking about in terms of the key signature is perfectly correct of course but it’s not the clearest way to explain it to a beginner.
Hi Gareth. There are actually 4 minor scales, 3 of which you have talked about but 1 of which you haven't. There is also the "Hungarian", also known as the "Gypsy" or "Egyptian" Minor scale! This involves the raising of the 4th and 7th degrees by a semitone, ascending and descending (bringing about an Augmented 4th). No UK music exam board as I am aware of uses this scale apart from the Victoria College of Music which uses it in their scales and arpeggios list for Diplomas in Recorder Playing. Your You Tube clips are brilliant, enjoyable and I send you my genuine best wishes. Nigel Martin (Tutor of Recorders at Sheffield University, Music Leader at Sheffield Music Hub ,Recorder Consultant and syllabus writer for Victoria College of Music, London.
Hi there, why were the Tonic of a relative minor key defined as the Submediant (the 6th scale degree) of the relative major? Why not 2nd, 3rd or other scale degrees? Thanks!
This is a consequence rather than the root decision. Start with any major key. Then ask which is the relative minor key ie the minor key with the same key signature. It works out that this is the submediant of the original major key tonic
@@MusicMattersGB I understand that, but let's say like we are in C major, if we define a scale starting from D is a relative natural minor scale of C, i.e. like a Dorian, it might still work. Why necessarily is a natural minor scale Aeolian?
Hello, I feel like I missed something. I still don't understand why the melodic minor changes when you descend. Anyone? What's the purpose? Just to cause confusion?
It’s a way of avoiding the augmented 2nd between the 6th and 7th degrees that we have in the harmonic minor scale. Going up one way and coming down the other way makes for more interesting melodic lines.
@@MusicMattersGB Hmm, okay. Seems strange. Do you know the history behind this? Just a brief overview. Do you know of any jazz tunes that use this approach to melody?
@swing8th Around 1600, major and minor keys replaced the modes. Composers realised we needed two minor scales - one fundamentally to make harmony work and the other to make melody work.
Certainly all major scales need to follow the pattern we find in C major - tone tone semitone tone tone tone semitone. Sharps and flats result. Don’t forget there are also minor keys and other kinds of scales.
Is there a physical reason why an interval that is being considered unpleasing in an ascending harmonic minor scale becomes more pleasant being played natural when descending? Technically it should be the same content, frequency wise..
@@MusicMattersGB What I mean is, on the one hand we say "natural minor doesn't sound good for melodic lines, let's raise the 6th and 7th" and play it in that way ascending, but when we come down and play it descending, we suddenly play the natural minor which we just said wouldn't sound as good. Is there any special reason for why that changes with the 'direction'?
It’s really a response to the augmented 2nd in the harmonic minor scale. The melodic minor scale is a response to the problem created by the augmented 2nd so we raise 6 and 7 ascending and we don’t descending.
@@MusicMattersGB This is very interesting! I've just played that on my keyboard in A minor, I can hear the benefit of playing melodically ascending with the raised 6th and 7th, and descending in natural minor also sounds good. But I'm still wondering why if composers in the past came to the conclusion, that melodies in minor should be played in with the raised 6th and 7th because that sounds better, / deals with the augmented 2nd, why we don't then also play the melodic minor when descending. Where's the difference of me playing let's say the notes e-f#-g#-a over a V-I progression versus playing a-g-f-e (natural A minor) descending over a V-I progression? Just the same thing reversed.. it's the same content of notes, just a different order, the intervalls stay the same, that's why I wonder why all of the sudden natural minor is 'good enough'. :)
They weren’t thinking natural minor, just melodic minor solving the augmented 2nd issue one way going up and the other way coming down. They also saw potential in the variety it creates within the key
There are many more types of minor scales besides the three in this video. Prominently is the minor pentatonic and the minor blues scale. Any scale with a b3 is considered minor.
Hi Gareth, I find it easier to think of the relation of A minor to C major in terms of A natural minor is the Aeolian mode of C major. This is true for all natural minors. As any Jazz musician knows, G natural minor is the aeolian mode of B-flat major. One can play the modes of any scale. The Dorian mode starting on the supertonic is a minor scale popular in Jazz - so in fact we have more than 3 minor scales.
Yes. Working from the Circle of 5ths in terms of relative minors is the best way to determine a natural minor. You’re also absolutely right about additional possibilities, especially in jazz. I’m simply trying to establish the fundamentals here.
With this video, I have just learned the three minor scales and how you make them, by adding on 7th or 6th and 7th degrees one semitone up, but I do not know why. Could you tell me where in the video says why have these three minor scales and not 2 or 5?.. Because you could change the 4h degree one semitone and have another one.. Why do we have these three?..
The video covers the reasons for having the scales. As to which notes are raised that belongs to a long evolutionary history going back to at least the 1500’s in which raising certain notes was found to be pleasing to the ear while raising other notes was found to be less convincing.
@@MusicMattersGB Thanks for answering. You are a great teacher and I love your channel and your videos but in this case, I disagree with you. . In the video you teach us to learn the minor scales like parrots, by memorizing how to build them, but you do not explain why we have those scales as you say in the title. Now by replying to me you started to give me an answer: We have these three scales because musicians have found that by raising certain notes of the minor scale the resulting scale was sounding good.. To really explain why you should take the scale and raise each degree, lower also, and do all combinations, and let people hear that those three sound better than alll others for example changing the 3rd degree one semitone lower... Only with a test where I can hear all the possibilities and listen to these three sounding better, and a detailed explanation of who made this and incorporated those scales in the music theory I would understand why we have 3 minor scales. At this point, even with your recent clarification I still do not know why we have 3 minor scales. Your title, to my understanding, is incorrect, it should be: The three minor scales, and how to make them.
Okay. Disagree with the title if you wish. I take your point. The reason we have harmonic and melodic minor scales is covered in the video but is essentially what the title suggests - harmonic minor for writing harmony; melodic minor for writing melody. The natural minor has history dating back to the days before we had major and minor keys. It’s a good idea to play these scales experimenting with raising different notes - you could certainly do that. The reason I didn’t do that in the video is to avoid causing confusion ie clearer to show what something is rather than what it isn’t. Anyway, I’m glad you find most of our content helpful.
@@MusicMattersGB Thanks a lot.. you are opening a new concept to me and taught me which areas to explore further. I always saw the three minor keys and had no idea the difference between them. Now I know how to build them and the difference between them and also know that the harmonic is the one to use when making harmony and the melodic when writing melodies. I need to experiment with these and try them by myself to fully understand why one is better for harmonies and the other for melodies.I still do not fully understand why one is better for harmony and the other for melodies. I will look at your video again in search of that point. Now I know which are the three minor scales, how to build them, and when to use each one of them. To learn "WHY" we have them I should research who had the idea of building a minor scale with 2112122 semitone intervals and when that happened,. how he convinced the world to use it, why it became so important, who had the following idea of rising the semitone on 7th and 6th degrees, where and when that happened, and how it has been incorporated in music books and has arrived at us. To me, that will answer the why. Thinking about it, I also get your point the word "Why" can have different meanings. One is the historical reason why we have them, and the other one is the functional reason, which is the "why" you explain... Why do we have a spoon and a fork to eat.. Because the spoon serves us to catch liquids like the soup and the fork serves us to catch soft solids like a piece of meat. But this answer does not explain the historical why, ( when these tools were invented, by who and how these tools have arrived at us). I will keep researching. You have opened my curiosity about these. Thanks a lot.
Actually our video talks about the difference between 2/4 and 4/4. The difference between 2/2 and 4/4 is musical because mathematically they are the same. In 4/4 we feel four beats in a bar. In 2/2 we feel two beats in a bar. Rhythms can be the same but placement of pulse is different.
@@MusicMattersGB What would be the difference between 2/2 and 2/4 musically? If I play 2/2 at 140 bpm, does that not sound completely identical in stress, rhythm, and pacing, to 2/4 at 70 bpm? What exactly is the difference?
I have some questions please! why the theory should have raised 6th and 7th while ascending and lowered to natural minor scale while descending? while there are tones of pieces that work on the opposite direction, ascending with natural minor and descending with the raised 6th and 7th? some pieces have melodic ascending and descending!! and too many different combinations, that doesn't stick to the theory! great video as usual, your channel is one of the few channels on UA-cam that I recommend my students to subscribe to. Thank you!
@@happyreader832 Modes terms will make sense later when you learn other scales,...Once you get BASIC. Then you can other scales QUICKER and EASIER....Because EVERYTHING is REFERENCE against the MAJOR scale INTERVALS. Then it's just shifting one or 2 notes. example...from A min Aeo ...........loc.............ion...........dor............phy...........Lyd......mix Aeo maj7...loc maj6 ion #5 dor #4 phy Maj lyd #2.........mix#1 it's just EASIER to count from the G# note amd label it as G# loc b4, bb7 You can also see the Melodic min as Ion b3 or Dorian Maj7 ion b3.....dor b2.......phy b1.......lyd b7........mix b6........aeo b5 loc b4 convert phy b1 to Lyd aug Lyd = Ion #4 to Ion #4, #5 or C Harmonic MAJOR ion b6 dor b5 phy b4 lyd b3 mix b2 aeo b1 loc bb7 convert aeo b1 to Lyd aug #2 ( ion #2, #4, #5) Or lets say you use the N6 chord...it's from the A Harmonic min b2 scale A phrygian . maj7...The Bb Major chord is built from Bb lyd #6 A phy Maj7.....Bb lyd #6....C mix #5 ...Aeo #4....Loc Maj3 Ion #2 dor #1 Convert G# dor #1 to loc bb3, b4, bb7 ( I just shift a note down from Loc b4, bb7 to Loc bb3, b4, bb7) or A Melodic min b2...the other N6 chord or A dor b2, Maj7, so the Bb note is just Bb lyd aug , #6 or Ion #4, #5, #6 or if you play A double harmonic min.. it'sd just aeo #4. maj7 Lyd #2, #6.... or lets say I was playing 12 barrss....blues using all Dominant chords. I can use each chord as a TONE center. Modulate using different modes A7 D7 E7 I can play A dor b4.......D dor b4 E Mix #2, #4..ect Any combination..when Im improvising...it happens too quick. I dont think too much about it..I know they all work Im just playing around the arpeggios of each chord. I can use these different dominant ish modes. ( they all have maj3 and b7 combo).... or enharmonic ( #2/b3......maj3/b4............#6, b7) mix ( Ion b7) mix #2 mix #4 mix #2, #4 mix b2, mix b6 mix b2, b6 mix b2, #4 loc b4 phy b4 dor b4 aeo b4 ion #6 lyd #6 lyd #5, #6 lyd #2, #6 lyd #2, #5, #6... It might be wickage on the keyboard... but it's NOT hard on the guitar..if you know what the intervals are of the fretboard. once your used to that... if someone tells me ..use the N6 chords..After the C MAJOR's tonic I know it's just Db Lyd #6 lyd #5, #6...or Lyd #2, #6 so i know...I can stack the Db chord Db 1, 3, 5, 7 or....1, 3, 5,#6 or 1, 3, #4 or 1, 3, #5 or 1, #2, #4 or 1, 3, 5, #6, #9 or after the A minor's TONIC... it'll just be Bb lyd #6...lyd #5, #6 or Lyd #2, #6. or the Ab chord...After the V So I might actaully play this as a cadence predominant before the G7 chord into C Maj C Maj....Db Maj7 Ab Maj G7 into C MAJOR or C Maj F Maj G Maj Ab Maj Bb dim Db dim ..or Bb full diminished into the D min chord... D min G7 into C MAJOR or C Maj Bb Maj Dd Aug or ( Aug) Dmin G7 into C MAJOR or play the A augmented to F min E min to A min The Db/A/F aug = n6 the F min is Lyd #2 from C harmonic MAJOR or F lyd #2 from A harmonic min or after the F min chord....play D Maj/Bmin or D maj/F# or F# dim The F# dim is F# aeo b5 from A melodic min. into the G Maj E min A min...instead of playing E7 into A min all the time. Then..Db Maj7 G7 into C MAJOR...instead of D min G7 into C Major...all the time. The E7 is just mix b6 or Mix b2, b6 or I can even play F min F#7 into the B min chord E7 or E min into A min The F#7 is from A melodic min b2...F# aeo b4, b5 ( F#, b4, b7, #2) the b3 is stack in the second octave..whatever..it's just F#7 into B min chord.. The B min chord is from the A melodic min B dor b2. I can even play F# aeo b5 , maj7 = D mix #2, #4 ..aka D Hungarian MAJOR I can stack the D 1, 3, 5.... or 1, #2, 5 1, 3, 5, b7 or 1, #2, 5. b7 1, #2, #4...or 1, #2, #4, 6..or 1, #2, #4, b7 do this A min....D dim full F dim into... F# min B min E7 to A min :-P or this C Maj D dim Ab Maj G7 into C MAJOR I could modulate to A MAJOR/F# min or Eb MAJOR/C min...from C MAJOR/Amin if you want....
The objective is to avoid the melodic augmented 2nd between the 6th and 7th degrees of the harmonic minor scale. Going up one way and coming down the other provides both of the available solutions.
Hello, thanks for your videos!! I would like to ask a question, why natural minor scales , although being so frequently used , are not really a part of subject in common practice harmony, I mean the harmony we are all taught at the conservatories? Also in practice using natural minor scales gives a more flexible way using chord progressions like for example we find frequently in popular songs connections like V-IV or even V-IV-III , progressions that are somehow "forbidden" in harmonic minor scales (except V-IV6) . The opposite would be completely acceptable like III-IV-V in harmonic minor. So yes, although natural minor is a scale frequently used even in classical music, harmony lessons don't really say much about this scale and its functions.
Much popular music uses natural minor but most Classical music only really references it by default ie by the use of the descending melodic minor. That’s why there’s much more focus on harmonic and melodic minor
Hello my wonderful teacher. I have a question. For Ex. in Am key. why there is E involve? And in Key of G, why there is F involve? And why there is F# in the key of Bm? Can you refer me to a video that has this explanation?
It’s all about which keys need which sharps or flats. Have a look at our Circle of 5ths video, which explains the whole topic of keys and which notes are needed in each.
@@MusicMattersGB I hope you got what I mean. As far as I understand I watch the Circle of 5ths so many time, but I still don't get it. My Question is that I want to create a melody with chord progression. Let say, I want to develop a melody with the key of Am, and as you know in the key of Am there is no E chord in this. So why there is chord E exist? Thanks professor. by the way, I am from Cambodia. and Hello from Cambodia
In the harmonic minor scale of A minor we have these notes:- ABCDEFG#A We build chords on each note by placing a third and a fifth above each root:- l ACE ll BDF lll CEG# lV DFA V EG#B Vl FAC Vll G#BD So you can see the chords and why E is very much present. Hope that’s helpful.
Playing minor scales on the piano gets you in touch with minor keys and helps you to play music in minor keys. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Good stuff, really clear explanation of those 3 minor scales. But, there are many minor scales or modes, not just the main 3 mentioned. Dorian, Phrygian and yucky Locrian are minor too and used often in many genres (except Locrian which is awful). You can then view many of the modes of the melodic and harmonic minor as minor too (Dorain b9 is especially mystical). Then add your synthetic scales, such as the whole-half and half-whole diminished scales to add some mutations to a melody. There are hundreds more... The thing I struggle with is that blasted #9 tone. I'm not sure of the harmonic quality when a scale contains a #9 (aka b3) and a major third. Scales containing both the minor and major third can be both major and minor. So are melodies minor when a b3 is emphasized? Also, I do like the strong happy upper tetrachord containing 5, 6 and 7 scale degrees. Can having a major upper tetrachord 'overrule' the b3 minor sound? E.g. I mutate or alter a Phrygian (minor) mode by adding happy major 6th and 7th. This causes major / minor confusion as the lower tetrachord contain sad b2 and b3 tones, but once I move up beyond the 5th, the sound is now very positive and happy. It's confusing because I initially thought that the interval between the root and third was the defining factor for major vs minor. But when scales are altered to sit atop of complex harmony, this distinction between major and minor is blurred.
The difference is the type of 7 you have. If you alert a dominant 7 chord, a complementary scale is a melodic minor a semitone up from the root of the dominant 7 chord. Example: if you see a B7#9 ( root note B, left hand rootless voicing AD#G), C melodic minor is a complementary scale. Note here the harmony produced is a dominant7#9#5. For Bmaj7#9, A# locrian is a complementary scale, note to skip the B in the melody. The melodic minor is the most versatile scale. In the example I gave with the C melodic minor, you could play it with A half diminished, an extended F7 CHORD F13 (EbAD/F) and F7#11 (BEbG/F) , and of course C melodic minor (BEbG/C). Common usage in jazz...
@@hprm33t I don't like using complementary scales where possible If I'm soloing over a B7#9 then I will want all the tones in the altered B scale visualized on the fretboard. I'll substitute modes and scales though for the desired change of tones. So if I've got an EMaj9#11 then I could use a bog standard Lydian over the top whereas I could replace with F#9 Mixolydian (II7) to highlight the 9th, #11, or D# Phrygian to give an exotic flavour. When altering scales at fast tempos, just soloing with that altered scale is hard enough. But as soon as you start substituting the II, iii, or V then my fingers end up in knots. Definitely something to practice but sometimes a musician will start to throw a bunch of alternate scales your way and it's hard to churn out a strong melodic line with no pre warning.
Hello Mr. Gareth, the video was exceedingly helpful. Thank You! I have a question that I hope you know the answer to. I've been searching a lot, yet I haven't found a good answer. Why did Joseph Goebbels change A4's frequency from 440 hz to 432 hz?? Doesn't it have one steady frequency?? Thank you again.
"Most people have heard of the natural, harmonic, and melodic scales." Friend, that is absolutely hilarious. On what planet is "most people?" The only musical instrument that "most" people can play on earth is the CD player.
I’m a huge fan, but why do you say the natural minor scale is a minor scale and not a mode It’s the Aeolian mode “The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the white piano keys, it is the scale that starts with A. Its ascending interval form consists of a key note, whole step, half step, whole step, whole step, half step, whole step, whole step. Wikipedia › wiki › Aeolian_mode”
Same as with the major scale being called the major scale. Minor and major are the two most used modes, so we have a simpler name for them. Same goes for when someone tells your to play a C chord, and you know it's a major chord. That's just how it evolved.
Music Matters Hi Gareth: And I know you were just making the point that E natural to E natural octave on the white keys does not constitute a natural minor I just didn’t want your students to think the natural minor scale is not a mode As I’m sure you know, major and minor are the primary modes in classical music And when we speak of model changes, or opposing mode, we’re speaking of the major ionian and natural minor Aeolian scales Thanks for all you do
The minor mode actually evolved from Dorian, not Aeolian, is the problem with calling it Aeolian. The Dorian mode in the Renaissance and Baroque, like all modes except Phrygian, included the possibility of a leading tone or raised 7th degree below the first degree in addition to the low, natural 7th degree. And with the solmisation theory dictating that "one note above la is always sung fa" to avoid melodic tritones, both the flattened and natural 6th degree were available in Dorian depending on melodic context. Dorian was then D-E-F-G-A-B or Bb-C or C#-D. Which is exactly all the constitutive notes of the minor mode of tonality. The distinction between melodic, harmonic and natural minor is pretty artificial, as it reflects neither how the minor mode of tonality evolved nor how it actually functions in composition. There is truly only one minor mode in the tonal system, where the natural and raised 6th and 7th degrees are all available, whether going up or down, and whether we are interested in melody or harmony.
Isn't this just a question of naming conventions? The idea that there is some kind of dividing line between the so-called modes and the major and minor equal temperament scales doesn't have much justification in my opinion. Remember that all these notes apart from the octaves and fifths are considerably out of tune on a modern piano. What functional difference is there between the 'natural minor' and the 'aeolian mode'?
It’s certainly true that the natural minor and the Aeolian mode are the same thing but it’s also true that each mode and both the melodic & harmonic minor scales have their own distinctive order of tones and semitones that give individual character to the musical impact.
@@MusicMattersGB Yes but the impact and character that you are talking about are based on the industrial production of equal temperament pianos which only began about at the beginning of the 20th century. This creates a false equivalence which didn't exist for instance in harpsichord music. But I don't mean to be difficult. You are doing a wonderful job and keep up the good work.
That’s most kind. You’re certainly not being difficult - these are interesting discussions. What’s interesting is that the harmonic and melodic minor scales evolved during the early 1600’s with the advent of the harmonic system following the breakdown of the Church modes.
@@MusicMattersGB Yes but at that time equal temperament hadn't been invented so the sound of the scales was quite different. I remember being taught that the Well-Tempered Clavier was written to show that it was possible to use all the major and minor scales, as with a modern piano, but in fact it was written to demonstrate the differences between all the possible major and minor scales with a harpsichord tuned in a 'well temper', even if we don't know exactly what that was.
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Again a great lesson.
And yet, I heard that jazz players would play the melodic minor scale both ascending and descending.
And of course, who was ahead of his time?
Bach.
Some music schools call this the Bach Minor scale.
Absolutely
@@MusicMattersGB I'm glad you kept this video simple without that fact, since it is really trivial for beginners. I made the mistake of watching too many jazz videos when I first started out. I was able to play seventh chords, but I didn't have mastery over triads. I'm making up for lost time.
That’s great
Simple explanation is a sign of great teacher.
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Most music theory isn't as confusing as it sometimes sounds once you take a good look at it, but these three harmonic scales continue to throw me. Thanks for explaining!
A pleasure. Much more at www.mmcourses.co.uk
It's all about grammar when it comes to music. As a guitarist, a scale is a group of ascending and descending notes that are used for the creation of melody. They are also the building blocks for harmony, and chords can be built from them. When learning about music and scales, it's important to get to know the notes and where all the notes are before delving deeper.
Absolutely
You are such a great teacher. Thank you so much.
A pleasure. Much more at www.mmcourses.co.uk
Brilliant as usual Gareth, many thanks for your uploads.
A pleasure. Glad they’re helpful.
Thank you for this. My piano teacher just assigned me the melodic scale and I was going bonkers. Such a clear explanation!
Glad it’s useful
Always learn so much from these videos, even after playing music all these years! I'm going to look out for the natural minor now, which I wasn't really aware of before: any famous examples?
That’s great. Lots of folk songs use natural minor scales.
You
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Brilliant! Thank you for this! Excellent lesson! Very clear, simple, slow, and easy to follow! Great teacher with a relaxing voice as well. I will surely be watching more to brush up on stuff! Currently back into music after playing trombone for like 15 years through school and having a hiatus. Now I'm doing a great deal of theory and this is so helpful! 😁👍🏻
That’s great. Much more at www.mmcourses.co.uk
I'm VERY grateful for this explanation. There is a big pitfall in jazz theory where they show you how to "harmonize the melodic minor" and how "x chord is based on the third mode of the melodic minor scale." While this harmonization may be useful for expanded harmony, it is a misleading and inadequate explanation of the original function of the scale. You put it perfectly. Baroque composers wanted the juicy natural 7th leading tone to tonic in minor, but then had to "make up" for that awkward misspelled 3rd(b6-nat7) by using a natural 6th for lines or "melodies." THANK YOU.
That’s really kind. There’s much more at www.mmcourses.co.uk including details of our 25 online courses including Theory, Aural, Analysis, Orchestration, Counterpoint etc and details of our Maestros group.
Thanks Gareth!! Yet another wonderful video!
Most kind. Glad it’s helpful.
Just to confuse the natural minor even more, I understand what you mean by 'we aren't talking about modes,' that's true it isn't the Phrygian mode. However it is the Aeolian mode with that key signature whether you think of modes being an alteration of the major scale or just the sixth mode relating to G doesn't really matter. I'm sure you get where I am coming from hopefully.
Absolutely
Really cleared things up for me!
That’s great. Much more at www.mmcourses.co.uk
So helpful! I've always been confused by the variety of minor scales especially the "up is not the same as down" thing!
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@@MusicMattersGB thank you for the suggestion - I've just signed up. Happy to support your admirable work!
That’s very much appreciated. Many thanks.
😀
Hi Garret, nice class! It is right that are three minor scales (natural minor, harmonic minor, melodic minor) and minor modes (Dorian minor, Phrygian mode, Aeolian mode, Locrian mode) and alt minor modes. So, I consider the minor scales more than 3...in the same way the triads (Mayor, minor, diminish, augmented, Mayor b5, Sus2, sus4)... however, it is complete right to define them as the way you said it... greetings from Tijuana!
Great to hear from you. All the best. Gareth
Also called the aoelian mode. In Folk music but also medieval and Renaissance music. Thanks again. Hope my comment helpful to some. Some folk/Renaissance music isn't strictly modal. Seventh note sharpened and not sharpened, depending on melody or intervals between parts in Renaissance music. I suppose a lot of it is down to the instinct of the composer, and his/ her influences. Many pieces of music will use more than one minor scale. Playing and listening while following score really helpful in getting to understand minor tonality. Not an easy thing to explain. Very brave of you, thanks.
A pleasure. In the late Renaissance period musica ficta was the description of changes to accidentals within modes. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ua-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Unfortunately the question in the title was not really answered. Yes, harmonic minor seems to be used for harmony quite often and melodic minor for melodies. But why? Why not use the natural minor for everything instead? This is why I clicked this video.
The reasons are explained in the video eg the problems around the augmented 2nd. Natural minor is a good option. Most composers since 1600 have gone for the harmonic/ melodic options.
@@MusicMattersGB Alright, thank you. But it would've been great if you did a deep dive on that. I think anybody watching that videos knows what those 3 scales are, just not the reason for their existence. So, the most important info got the least amount of time.
@youtubewatcher2006 😀
There's also the Jazz Minor Scale for performance. Melodic Scale both ascending and descending. It's all very complicated when it comes to Jazz scales and all the modes.
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Exceptional tutorial. Thank you.
Many thanks. Much more at www.mmcourses.co.uk
thanks
Thank you for your generous comment. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
Thank you for a brilliantly simple explanation
A pleasure
This provided the what are the scales and the why they are named Harmonic and Melodic. However the true reason why there is the harmonic minor and melodic minor scales was not really answered. Why did they create the scales. Why did they adjust the natural minor scale to create these scales. The reason is to provide the leading tone back to the tonic melodically and harmonically make chord the more powerful dominant (major) chord vs in natural minor it is a minor 7th chord which is a weaker resolution/cadence.
So in the key Am
E7 > Am (harmonic minor)
Em7 > Am is a weak resolution. (natural minor)
Why melodic ascending? Because they wanted the leading tone but without the aug 2nd interval between 6-#7. So raise the 6th to reduce the interval to a major 2nd. (this was explained in the video)
Why natural descending? Because they don't need the leading tone since the leading tone leads by semi-tone UP to the tonic. Descending it does not have that function so revert to the natural scale of the key.
😀
The best teacher out there
You’re very kind. Much more at www.mmcourses.co.uk
It's fascinating when i watch these videos, that 'odd' interval sounds better to me than the altered one in the melodic ...coming from a different culture shows in these cases i guess...it takes some effort to reset my ear to it.
Yes the cultural context is very interesting.
Sir, Nice explanation,Thanks Sir.I request you,please upload a video for Western Music Ornamentation.
This one should be of use to you.
ua-cam.com/video/eTunVO6TuJ4/v-deo.html
The best way to explain these concepts are through:
(1) Examples in recognizable songs/arrangements in which the application of the scale/mode is utilized in the melodies/harmonies of that song/arrangement.
Learning scales/modes in isolation seem to abstract and disconnected to me.
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@@MusicMattersGB not sure if this emoji is laughing or scared or shocked.
Acknowledging your comment
Excellent information here!
That’s great. Much more at www.mmcourses.co.uk
Great- but, the natural minor is a mode- the Aeolian mode and is used far and wide in modern day music. It is in fact the predominant key/mode in chart music today and in particular, adverts and film music.
Absolutely
As a musical novice, I thank you for your clear explanation.
That’s great. Much more to help you at www.mmcourses.co.uk
Question: What advice would you give for improvising in minor keys? Do you suggest keeping track of ascending to the tonic or descending away from the tonic? How do you avoid becoming confused?
Minor keys present greater challenges than major keys. It’s not so much about dealing with the tonic but really about matching the 6th and 7th degrees of the scale when balancing melodic and harmonic minors. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Very Rare & Useful info.
Sir , please make a video on importance of scales .
Thank you. Take a look at this video on why you should practice scales and arpeggios.
ua-cam.com/video/sDGsEHZoWMs/v-deo.html
Great video.. . I like the use of " raise " rather than #. It is very clear. A while back. These are some ways I have worked it out by myself. A very quick way I developed by myself is to see the ascending minor thirds..great for Diminished chords. If I'm in C. I see the Eb as the min 3.
So that will be key signature of 3 flats. One and a half steps up. Of course great way to learn the min
triads too. 1 b3 5. Thru self study. I noticed that all 3 minor scales all had the same first 5 notes. Natural. Melodic and Harmonic. It's hard to see this in Am. ( It's just the Aolian mode of C) It took me along time to understand the modes. Aolian is the sixth mode of major scale.
The Aolian mode of C major is 6 to 6. (A B C D E F G A) Natural minor.
.. It really just is min 3rd to min 3 of the parent scale C. I say unfortunately.. because the A major scale itself has been bypassed. ( A B C# D E
F# G# A). But there is good with the bad. We all know that the min. 3 of all 3 min scales. (Natural, Melodic, and Harmonic ) is lowered. That gives the minor sound. The good news is you can say the major scale of A to A and just lower the 3. and voila, the melodic minor ascending is scale. ( A B (C) D E F# G# A). The Harmonic minor scale of A ascending is ( A B C D E F G# A)..There are some rules about ascending and descending that jazz totally disregards. I just wrote ascending..Another thing I have observed is the C natural minor scale with the the the min 7 the (Bb) the note B on the white keys turns it into the leading tone of the
C scale..which is part of the G chord G B D.. The major third of this G the V is the leading tone B of the C scale. A while back I notice that Autumn leaves in Bb key signature had a E7 dominant when the A harmonic was being used. I wrote out the five Diatonic 7 the A harmonic minors. Basically just going in A harmonic scale and using the notes of the A harmonic minor. I knew I had to wind up with the E7. (A B C D E F# G# A). A C E G# B D F# A
C E G# B D F# A C ((E G# B D)).
Wow .a E7 . The Dom 5 chord of
the A harmonic minor scale.
😀
@@MusicMattersGB Thanks..once in a while I get inspired. I found that the min7b5.. fit the harmonic scale too. It's really important to know all 12 of the major scales. Everything came from it. Pythagoras invented the Pentatonic scale; which was used in the Greek theatre. The math that this required was pretty much amazing. I developed .. probably not original the 2.5 3.5 way to learn all the 12 scales very quickly if you sitting at the piano.
I deserve a 🍪.
😀
@@MusicMattersGB Workingwith a good today called 65 Gypsy jazz licks..Want to try them on Piano.
😀
The whole matter happens on the 6th and 7th degree. They change in the upper and lower direction. The 3 rd degree is left minore... otherwise it becomes a major scale.
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Thanks alot. Clear teaching. What is the difference between the scales and the chords in usage or playing?
Thanks. Use the scales as the basis of the chords by adding the 3rd and 5th above each scale note. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank you for a useful explanation of the 3 minor scales. I like the sound of minor melodies, but the Melodic Minor Scale makes me nervous when composing a melody. If the melody line isn't clearly moving up or down a scale what happens to the accidentals? What happens when the Harmonic Minor Harmony conflicts with the Melodic Minor melody? I know Gareth has touched on some of these subjects in previous videos, but I hope more examples will be forthcoming in future videos. Gareth is a wonderful teacher!
That’s most kind. The main thing is to match melody and harmony so one compromises with the other. All the best. Gareth
Thank you!
😀
@@MusicMattersGB Furthering this question - best practice? compromise the harmonic harmony in favor of the harmonizing with the melodic melody? Sounds funny I know, but I think you know what I mean.
There always has to be flexibility of interchange between the two.
All very interesting and taught very well. The explanation of modes, though incidental here, was the first clear one I've ever heard. Are they always really so simple? Just the white notes?
he has a video on modes where he describes it very clearly
Zander thanks! I’ve just watched it. Excellent!
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White, only in the key of C.
😀
Thank you So much
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
But why do the notes of Melodic-Minor Scale change when you play it in descending order?
What is the reason for that?
In order to avoid the awkward augmented 2nd and to create variety within the scale.
fantastic video!
Thank you. Much more at www.mmcourses.co.uk
THANKS VERY MUCH
It’s a pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
Why we are not using the raise 6 and 7th when we go descend on melodic minor scale?
Melodic minor scales go up one way and come down another. It’s makes for more interesting melodies
Thanks!
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How do I know if the key signature indicates a major or minor scale? For example, a piece of music that has NO sharps or flats could be a C Major A minor. Music with one sharp could be a G Major or E Minor. Does it depend on the 1st note of the composition?
First and last notes can be a clue but the main thing to look out for is whether the 6th/7th degrees of the scale are raised in a minor key.
First and last notes can be a clue but the main thing to look out for is whether the 6th/7th degrees of the scale are raised in a minor key.
Thanks for the great video.
That’s kind. Much more at www.mmcourses.co.uk
in Jazz we only use the ascending form of the melodic minor. so it's the same going up or down
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Khasab; good point. I don't want to criticise the video because he explains very well. But I think the melodic minor scale is a strange invention. From what I understood, the sixt note of the scale was raised because the interval between the sixt and the seventh note of the harmonic minor scale was hard for vocalists to sing. Downward they used the natural scale because the melodic scale is very hard to sing downwards. Personally I think the harmonic-and melodic minor scales are just variations of the minor scale. Composers would only have considered what sound best and since it was discovered that the raised seventh note acted as a leading note they would of course use it in their compositions. Music theory was invented to try to explain what makes music sound good or what doesn't.
Absolutely. Worth remembering that the clue is in the title ie harmonic minor is about harmony; melodic minor is about melody. The two are interchangeable but the augmented 2nd in the harmonic minor rarely sounds good in melodic writing and the Dominant chord usually works better as a major chord.
@@MusicMattersGB I know, exactly. I was just mentioning what the practice is in jazz
Brilliant. That’s useful.
Thank youuu🙏🙏🙏👏👏👏👏
A pleasure. Much more at www.mmcourses.co.uk
Hi Garth, I have a question. of the well established scales we have now, were there during the years of the theory; any scales or chords that were used/popular, that ended up not being adapted into modern theory? Also, what or rather how is baroque music typicallyed wrote in terms of scales?
Major and minor keys were established in the years following 1600 so they are the basis of Baroque music and indeed form the basis of Western music up to 1900. The modes of pre Baroque music more or less evaporated other than in folk music until a twentieth century revival in differing musical genres.
I learned all this many years ago and I understand the theory, but I have a question that I've never found an answer to in all those years. Where do we see the melodic minor being used in practice? In what pieces can we hear ascending notes which are different to when the melody is descending? I'm not sure I've ever found any actual examples.
Take almost any piece in a minor key by Bach and you’ll see the melodic minor scale at work.
@@MusicMattersGB I'm scouring my French Suites as we speak. I know it comes up in a couple of of the four-part harmony videos, but I haven't spotted it yet in melody. May I suggest this would make an interesting video for you to make? The melodic minor in action.
Good proposal.
French Suites are a great place to look.
Surely the easiest way to explain the natural minor is just that it uses all the notes of its relative major, but starting on the sixth scale degree of the major instead of the first. Which leads nicely into the idea of modes.
Talking about in terms of the key signature is perfectly correct of course but it’s not the clearest way to explain it to a beginner.
Swings and roundabouts in the sense that it depends on a beginner’s understanding of relative keys. Certainly both ways are possible.
Hi Gareth. There are actually 4 minor scales, 3 of which you have talked about but 1 of which you haven't. There is also the "Hungarian", also known as the "Gypsy" or "Egyptian" Minor scale! This involves the raising of the 4th and 7th degrees by a semitone, ascending and descending (bringing about an Augmented 4th). No UK music exam board as I am aware of uses this scale apart from the Victoria College of Music which uses it in their scales and arpeggios list for Diplomas in Recorder Playing. Your You Tube clips are brilliant, enjoyable and I send you my genuine best wishes. Nigel Martin (Tutor of Recorders at Sheffield University, Music Leader at Sheffield Music Hub ,Recorder Consultant and syllabus writer for Victoria College of Music, London.
Excellent. Thanks for adding that.
Hi there, why were the Tonic of a relative minor key defined as the Submediant (the 6th scale degree) of the relative major? Why not 2nd, 3rd or other scale degrees?
Thanks!
This is a consequence rather than the root decision. Start with any major key. Then ask which is the relative minor key ie the minor key with the same key signature. It works out that this is the submediant of the original major key tonic
@@MusicMattersGB I understand that, but let's say like we are in C major, if we define a scale starting from D is a relative natural minor scale of C, i.e. like a Dorian, it might still work.
Why necessarily is a natural minor scale Aeolian?
A natural minor always follows the pattern of tones and semitones of the Aeolian. So D natural minor is a transposition of the Aeolian mode.
Thanks for the info
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Hello, I feel like I missed something. I still don't understand why the melodic minor changes when you descend. Anyone? What's the purpose? Just to cause confusion?
It’s a way of avoiding the augmented 2nd between the 6th and 7th degrees that we have in the harmonic minor scale. Going up one way and coming down the other way makes for more interesting melodic lines.
@@MusicMattersGB Hmm, okay. Seems strange. Do you know the history behind this? Just a brief overview. Do you know of any jazz tunes that use this approach to melody?
@swing8th Around 1600, major and minor keys replaced the modes. Composers realised we needed two minor scales - one fundamentally to make harmony work and the other to make melody work.
That's interesting. Thank you for the prompt responses. Very helpful.
@swing8th A pleasure.
Some students asked me why we put sharp and flat i told them to be equally with c major in distances between notes am i right?
Certainly all major scales need to follow the pattern we find in C major - tone tone semitone tone tone tone semitone. Sharps and flats result. Don’t forget there are also minor keys and other kinds of scales.
@@MusicMattersGB thanx
😀
Is there a physical reason why an interval that is being considered unpleasing in an ascending harmonic minor scale becomes more pleasant being played natural when descending? Technically it should be the same content, frequency wise..
It’s not really about frequencies but about the interval between one note and the next. Augmented 2nds tend to jar the melodic line.
@@MusicMattersGB What I mean is, on the one hand we say "natural minor doesn't sound good for melodic lines, let's raise the 6th and 7th" and play it in that way ascending, but when we come down and play it descending, we suddenly play the natural minor which we just said wouldn't sound as good. Is there any special reason for why that changes with the 'direction'?
It’s really a response to the augmented 2nd in the harmonic minor scale. The melodic minor scale is a response to the problem created by the augmented 2nd so we raise 6 and 7 ascending and we don’t descending.
@@MusicMattersGB This is very interesting! I've just played that on my keyboard in A minor, I can hear the benefit of playing melodically ascending with the raised 6th and 7th, and descending in natural minor also sounds good. But I'm still wondering why if composers in the past came to the conclusion, that melodies in minor should be played in with the raised 6th and 7th because that sounds better, / deals with the augmented 2nd, why we don't then also play the melodic minor when descending. Where's the difference of me playing let's say the notes e-f#-g#-a over a V-I progression versus playing a-g-f-e (natural A minor) descending over a V-I progression? Just the same thing reversed.. it's the same content of notes, just a different order, the intervalls stay the same, that's why I wonder why all of the sudden natural minor is 'good enough'. :)
They weren’t thinking natural minor, just melodic minor solving the augmented 2nd issue one way going up and the other way coming down. They also saw potential in the variety it creates within the key
There are many more types of minor scales besides the three in this video. Prominently is the minor pentatonic and the minor blues scale. Any scale with a b3 is considered minor.
Sure. I’m just presenting the three essential minors in this video.
👏👏👌👍Thank you...Sir...😊
A pleasure. Much more at www.mmcourses.co.uk
Hi Gareth, I find it easier to think of the relation of A minor to C major in terms of A natural minor is the Aeolian mode of C major. This is true for all natural minors. As any Jazz musician knows, G natural minor is the aeolian mode of B-flat major. One can play the modes of any scale. The Dorian mode starting on the supertonic is a minor scale popular in Jazz - so in fact we have more than 3 minor scales.
Yes. Working from the Circle of 5ths in terms of relative minors is the best way to determine a natural minor. You’re also absolutely right about additional possibilities, especially in jazz. I’m simply trying to establish the fundamentals here.
I'm struggling with recognising the minor scales in our aural skills class. I guess I just need to practise more
Keep going and your ear will tune in.
With this video, I have just learned the three minor scales and how you make them, by adding on 7th or 6th and 7th degrees one semitone up, but I do not know why. Could you tell me where in the video says why have these three minor scales and not 2 or 5?.. Because you could change the 4h degree one semitone and have another one.. Why do we have these three?..
The video covers the reasons for having the scales. As to which notes are raised that belongs to a long evolutionary history going back to at least the 1500’s in which raising certain notes was found to be pleasing to the ear while raising other notes was found to be less convincing.
@@MusicMattersGB Thanks for answering. You are a great teacher and I love your channel and your videos but in this case, I disagree with you. . In the video you teach us to learn the minor scales like parrots, by memorizing how to build them, but you do not explain why we have those scales as you say in the title. Now by replying to me you started to give me an answer: We have these three scales because musicians have found that by raising certain notes of the minor scale the resulting scale was sounding good.. To really explain why you should take the scale and raise each degree, lower also, and do all combinations, and let people hear that those three sound better than alll others for example changing the 3rd degree one semitone lower... Only with a test where I can hear all the possibilities and listen to these three sounding better, and a detailed explanation of who made this and incorporated those scales in the music theory I would understand why we have 3 minor scales. At this point, even with your recent clarification I still do not know why we have 3 minor scales. Your title, to my understanding, is incorrect, it should be: The three minor scales, and how to make them.
Okay. Disagree with the title if you wish. I take your point. The reason we have harmonic and melodic minor scales is covered in the video but is essentially what the title suggests - harmonic minor for writing harmony; melodic minor for writing melody. The natural minor has history dating back to the days before we had major and minor keys. It’s a good idea to play these scales experimenting with raising different notes - you could certainly do that. The reason I didn’t do that in the video is to avoid causing confusion ie clearer to show what something is rather than what it isn’t. Anyway, I’m glad you find most of our content helpful.
@@MusicMattersGB Thanks a lot.. you are opening a new concept to me and taught me which areas to explore further. I always saw the three minor keys and had no idea the difference between them. Now I know how to build them and the difference between them and also know that the harmonic is the one to use when making harmony and the melodic when writing melodies. I need to experiment with these and try them by myself to fully understand why one is better for harmonies and the other for melodies.I still do not fully understand why one is better for harmony and the other for melodies. I will look at your video again in search of that point. Now I know which are the three minor scales, how to build them, and when to use each one of them. To learn "WHY" we have them I should research who had the idea of building a minor scale with 2112122 semitone intervals and when that happened,. how he convinced the world to use it, why it became so important, who had the following idea of rising the semitone on 7th and 6th degrees, where and when that happened, and how it has been incorporated in music books and has arrived at us. To me, that will answer the why. Thinking about it, I also get your point the word "Why" can have different meanings. One is the historical reason why we have them, and the other one is the functional reason, which is the "why" you explain... Why do we have a spoon and a fork to eat.. Because the spoon serves us to catch liquids like the soup and the fork serves us to catch soft solids like a piece of meat. But this answer does not explain the historical why, ( when these tools were invented, by who and how these tools have arrived at us). I will keep researching. You have opened my curiosity about these. Thanks a lot.
That’s good. Like many things in life it’s not always a single point or person of invention but an evolutionary process.
even one as daft as moi is starting to grasp it. the historical reference helped. mille gratze
That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
Thank you Gareth
Would love it if you can do a difference between a 2/2 time and 4/4 time.
I look forward to your reply
A pleasure. We have a video on the channel on that very subject if you want to search for it on UA-cam.
@@MusicMattersGB I have before posting it here but i couldn't find it
Any link to make it faster ??
Many thanks once again
Actually our video talks about the difference between 2/4 and 4/4. The difference between 2/2 and 4/4 is musical because mathematically they are the same. In 4/4 we feel four beats in a bar. In 2/2 we feel two beats in a bar. Rhythms can be the same but placement of pulse is different.
@@MusicMattersGB What would be the difference between 2/2 and 2/4 musically? If I play 2/2 at 140 bpm, does that not sound completely identical in stress, rhythm, and pacing, to 2/4 at 70 bpm? What exactly is the difference?
If you played the minim pulse in 2/2 at the same speed as the crotchet pulse in 2/4 they would sound identical
why do you play the melodic minor as the natural minor coming back down the scale...???
All descending melodic minors are the same as the natural minor, while ascending melodic minors raise the 6th and 7th degrees.
I have some questions please!
why the theory should have raised 6th and 7th while ascending and lowered to natural minor scale while descending?
while there are tones of pieces that work on the opposite direction, ascending with natural minor and descending with the raised 6th and 7th?
some pieces have melodic ascending and descending!! and too many different combinations, that doesn't stick to the theory!
great video as usual, your channel is one of the few channels on UA-cam that I recommend my students to subscribe to.
Thank you!
That’s very kind. I agree it’s very strange in some ways but it’s good that music is so flexible in reality.
^-^ It really cleared things to me. But may I ask what modes are? Or if there is a video please let me know! Thank you! ^-^
Thanks. Take a look at this video on modes.
ua-cam.com/video/wMftXzZrv3g/v-deo.html
@@MusicMattersGB I watched it ^-^ Thank you very much! ^-^ Please stay safe!
😀You too
@@happyreader832 Modes terms will make sense later when you learn other scales,...Once you get BASIC. Then you can other scales
QUICKER and EASIER....Because EVERYTHING is REFERENCE
against the MAJOR scale INTERVALS.
Then it's just shifting one or 2 notes.
example...from A min
Aeo ...........loc.............ion...........dor............phy...........Lyd......mix
Aeo maj7...loc maj6 ion #5 dor #4 phy Maj lyd #2.........mix#1
it's just EASIER to count from the G# note amd label it as G# loc b4, bb7
You can also see the Melodic min as Ion b3 or Dorian Maj7
ion b3.....dor b2.......phy b1.......lyd b7........mix b6........aeo b5 loc b4
convert phy b1 to Lyd aug
Lyd = Ion #4 to Ion #4, #5
or C Harmonic MAJOR
ion b6 dor b5 phy b4 lyd b3 mix b2 aeo b1 loc bb7
convert aeo b1 to Lyd aug #2 ( ion #2, #4, #5)
Or lets say you use the N6 chord...it's from the A Harmonic min b2 scale
A phrygian . maj7...The Bb Major chord is built from Bb lyd #6
A phy Maj7.....Bb lyd #6....C mix #5 ...Aeo #4....Loc Maj3 Ion #2 dor #1
Convert G# dor #1 to loc bb3, b4, bb7
( I just shift a note down from Loc b4, bb7 to Loc bb3, b4, bb7)
or
A Melodic min b2...the other N6 chord
or A dor b2, Maj7,
so the Bb note is just Bb lyd aug , #6 or Ion #4, #5, #6
or if you play A double harmonic min..
it'sd just aeo #4. maj7
Lyd #2, #6....
or lets say I was playing 12 barrss....blues
using all Dominant chords.
I can use each chord as a TONE center.
Modulate using different modes
A7 D7 E7
I can play
A dor b4.......D dor b4 E Mix #2, #4..ect
Any combination..when Im improvising...it happens too quick.
I dont think too much about it..I know they all work
Im just playing around the arpeggios of each chord.
I can use these different dominant ish modes.
( they all have maj3 and b7 combo)....
or enharmonic ( #2/b3......maj3/b4............#6, b7)
mix ( Ion b7)
mix #2
mix #4
mix #2, #4
mix b2,
mix b6
mix b2, b6
mix b2, #4
loc b4
phy b4
dor b4
aeo b4
ion #6
lyd #6
lyd #5, #6
lyd #2, #6
lyd #2, #5, #6...
It might be wickage on the keyboard...
but it's NOT hard on the guitar..if you know what the intervals are of the fretboard.
once your used to that...
if someone tells me ..use the N6 chords..After the C MAJOR's tonic
I know it's just Db Lyd #6 lyd #5, #6...or Lyd #2, #6
so i know...I can stack the Db chord
Db 1, 3, 5, 7
or....1, 3, 5,#6
or 1, 3, #4
or 1, 3, #5
or 1, #2, #4
or 1, 3, 5, #6, #9
or after the A minor's TONIC...
it'll just be Bb lyd #6...lyd #5, #6 or Lyd #2, #6.
or the Ab chord...After the V
So I might actaully play this as a cadence predominant before the G7 chord into C Maj
C Maj....Db Maj7 Ab Maj G7 into C MAJOR
or C Maj F Maj G Maj Ab Maj Bb dim Db dim ..or Bb full diminished into
the D min chord...
D min G7 into C MAJOR
or
C Maj Bb Maj Dd Aug or ( Aug) Dmin G7 into C MAJOR
or play the A augmented to F min E min to A min
The Db/A/F aug = n6
the F min is Lyd #2 from C harmonic MAJOR or F lyd #2 from A harmonic min
or after the F min chord....play D Maj/Bmin or D maj/F# or F# dim
The F# dim is F# aeo b5 from A melodic min.
into the G Maj E min A min...instead of playing E7 into A min all the time.
Then..Db Maj7 G7 into C MAJOR...instead of D min G7 into C Major...all the time.
The E7 is just mix b6 or Mix b2, b6
or I can even play F min F#7 into the B min chord E7 or E min into A min
The F#7 is from A melodic min b2...F# aeo b4, b5 ( F#, b4, b7, #2)
the b3 is stack in the second octave..whatever..it's just F#7 into B min chord..
The B min chord is from the A melodic min B dor b2.
I can even play F# aeo b5 , maj7 = D mix #2, #4 ..aka D Hungarian MAJOR
I can stack the D
1, 3, 5.... or 1, #2, 5
1, 3, 5, b7 or 1, #2, 5. b7
1, #2, #4...or 1, #2, #4, 6..or 1, #2, #4, b7
do this
A min....D dim full F dim into... F# min B min E7 to A min :-P
or this
C Maj D dim Ab Maj G7 into C MAJOR
I could modulate to A MAJOR/F# min or Eb MAJOR/C min...from C MAJOR/Amin
if you want....
Thank you Sir.
A great pleasure. Hope you’re well.
@@MusicMattersGB yes sir. We are fine. Thank you. Hope you all are well. Take care.
That’s great. All well here.
Hii sir how to make arpeggios using melodies or chords tutorial plzz
😀
I understood we ironed out that augmented 2nd to make it easier for singers
That wasn’t the main reason but it’s a happy consequence.
@@MusicMattersGB oh i see well it's what I have read as the reason but I'm always ready to learn :)
😀
But why do we change those risen notes by descending the melodic scale?
It makes it much more colourful that we have two options
@@MusicMattersGB That's right but I still don't understand the concept of why it's changed 🤔 by what rule oder logical thoughts is it explained
The objective is to avoid the melodic augmented 2nd between the 6th and 7th degrees of the harmonic minor scale. Going up one way and coming down the other provides both of the available solutions.
@@MusicMattersGB thank you so much for your quick and kind reply 🤗
😀
Natural
Harmonic
Melodic
😀
so it is just three scoops of ice-cream
😀
Hello, thanks for your videos!!
I would like to ask a question, why natural minor scales , although being so frequently used , are not really a part of subject in common practice harmony, I mean the harmony we are all taught at the conservatories? Also in practice using natural minor scales gives a more flexible way using chord progressions like for example we find frequently in popular songs connections like V-IV or even V-IV-III , progressions that are somehow "forbidden" in harmonic minor scales (except V-IV6) . The opposite would be completely acceptable like III-IV-V in harmonic minor. So yes, although natural minor is a scale frequently used even in classical music, harmony lessons don't really say much about this scale and its functions.
Melodic minor (descending) covers some cases of natural minor's functionality but its definitely not enough.
Much popular music uses natural minor but most Classical music only really references it by default ie by the use of the descending melodic minor. That’s why there’s much more focus on harmonic and melodic minor
Hello my wonderful teacher. I have a question. For Ex. in Am key. why there is E involve? And in Key of G, why there is F involve? And why there is F# in the key of Bm? Can you refer me to a video that has this explanation?
It’s all about which keys need which sharps or flats. Have a look at our Circle of 5ths video, which explains the whole topic of keys and which notes are needed in each.
@@MusicMattersGB I hope you got what I mean. As far as I understand I watch the Circle of 5ths so many time, but I still don't get it. My Question is that I want to create a melody with chord progression. Let say, I want to develop a melody with the key of Am, and as you know in the key of Am there is no E chord in this. So why there is chord E exist? Thanks professor. by the way, I am from Cambodia. and Hello from Cambodia
In the harmonic minor scale of A minor we have these notes:-
ABCDEFG#A
We build chords on each note by placing a third and a fifth above each root:-
l ACE
ll BDF
lll CEG#
lV DFA
V EG#B
Vl FAC
Vll G#BD
So you can see the chords and why E is very much present. Hope that’s helpful.
@@MusicMattersGB Do you have any lesson on this one?
Various videos on the UA-cam channel but full explanations on our Theory courses at www.mmcourses.co.uk
Thanks! That harmonic minor, kind of sounds arabic, or asian to me :)
It does.
Maybe due to the minor 3rd interval from the 6th to 7th notes,
Sure. It’s an augmented 2nd.
question how can we use minor scale in piano
Playing minor scales on the piano gets you in touch with minor keys and helps you to play music in minor keys. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Good stuff, really clear explanation of those 3 minor scales.
But, there are many minor scales or modes, not just the main 3 mentioned.
Dorian, Phrygian and yucky Locrian are minor too and used often in many genres (except Locrian which is awful).
You can then view many of the modes of the melodic and harmonic minor as minor too (Dorain b9 is especially mystical).
Then add your synthetic scales, such as the whole-half and half-whole diminished scales to add some mutations to a melody.
There are hundreds more...
The thing I struggle with is that blasted #9 tone. I'm not sure of the harmonic quality when a scale contains a #9 (aka b3) and a major third. Scales containing both the minor and major third can be both major and minor. So are melodies minor when a b3 is emphasized?
Also, I do like the strong happy upper tetrachord containing 5, 6 and 7 scale degrees. Can having a major upper tetrachord 'overrule' the b3 minor sound?
E.g. I mutate or alter a Phrygian (minor) mode by adding happy major 6th and 7th. This causes major / minor confusion as the lower tetrachord contain sad b2 and b3 tones, but once I move up beyond the 5th, the sound is now very positive and happy.
It's confusing because I initially thought that the interval between the root and third was the defining factor for major vs minor. But when scales are altered to sit atop of complex harmony, this distinction between major and minor is blurred.
The difference is the type of 7 you have. If you alert a dominant 7 chord, a complementary scale is a melodic minor a semitone up from the root of the dominant 7 chord. Example: if you see a B7#9 ( root note B, left hand rootless voicing AD#G), C melodic minor is a complementary scale. Note here the harmony produced is a dominant7#9#5. For Bmaj7#9, A# locrian is a complementary scale, note to skip the B in the melody. The melodic minor is the most versatile scale. In the example I gave with the C melodic minor, you could play it with A half diminished, an extended F7 CHORD F13 (EbAD/F) and F7#11 (BEbG/F) , and of course C melodic minor (BEbG/C). Common usage in jazz...
@@hprm33t I don't like using complementary scales where possible
If I'm soloing over a B7#9 then I will want all the tones in the altered B scale visualized on the fretboard.
I'll substitute modes and scales though for the desired change of tones. So if I've got an EMaj9#11 then I could use a bog standard Lydian over the top whereas I could replace with F#9 Mixolydian (II7) to highlight the 9th, #11, or D# Phrygian to give an exotic flavour.
When altering scales at fast tempos, just soloing with that altered scale is hard enough. But as soon as you start substituting the II, iii, or V then my fingers end up in knots.
Definitely something to practice but sometimes a musician will start to throw a bunch of alternate scales your way and it's hard to churn out a strong melodic line with no pre warning.
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Hello Mr. Gareth, the video was exceedingly helpful. Thank You!
I have a question that I hope you know the answer to. I've been searching a lot, yet I haven't found a good answer.
Why did Joseph Goebbels change A4's frequency from 440 hz to 432 hz?? Doesn't it have one steady frequency??
Thank you again.
Hi. We have a video on that very topic coming very soon.
@@MusicMattersGB Oh.. Thank you Loads... Much Love!
😀
Easy: he didn't.
@@LeTromboniste0what do you mean??
I majored in Minor ...
😀
We have 3 MAIN minor scales.
Correct
I was the 1000th person to like this video
That’s great.
music is much like science and math,.... music is music until you get to the details the beauti is in the menutia
😀
There are thousands of minor scales.
Not really
"Most people have heard of the natural, harmonic, and melodic scales." Friend, that is absolutely hilarious. On what planet is "most people?" The only musical instrument that "most" people can play on earth is the CD player.
Obviously I’m referring to most viewers who are engaged with the topics we present!
🌹🙏
😀
I’m a huge fan, but why do you say the natural minor scale is a minor scale and not a mode
It’s the Aeolian mode
“The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the white piano keys, it is the scale that starts with A. Its ascending interval form consists of a key note, whole step, half step, whole step, whole step, half step, whole step, whole step.
Wikipedia › wiki › Aeolian_mode”
It’s more a question of which musical tradition one is working in but you’re absolutely correct about the Aeolian mode.
Same as with the major scale being called the major scale. Minor and major are the two most used modes, so we have a simpler name for them. Same goes for when someone tells your to play a C chord, and you know it's a major chord. That's just how it evolved.
Music Matters Hi Gareth:
And I know you were just making the point that E natural to E natural octave on the white keys does not constitute a natural minor
I just didn’t want your students to think the natural minor scale is not a mode
As I’m sure you know, major and minor are the primary modes in classical music
And when we speak of model changes, or opposing mode, we’re speaking of the major ionian and natural minor Aeolian scales
Thanks for all you do
😀
The minor mode actually evolved from Dorian, not Aeolian, is the problem with calling it Aeolian. The Dorian mode in the Renaissance and Baroque, like all modes except Phrygian, included the possibility of a leading tone or raised 7th degree below the first degree in addition to the low, natural 7th degree. And with the solmisation theory dictating that "one note above la is always sung fa" to avoid melodic tritones, both the flattened and natural 6th degree were available in Dorian depending on melodic context. Dorian was then D-E-F-G-A-B or Bb-C or C#-D. Which is exactly all the constitutive notes of the minor mode of tonality.
The distinction between melodic, harmonic and natural minor is pretty artificial, as it reflects neither how the minor mode of tonality evolved nor how it actually functions in composition. There is truly only one minor mode in the tonal system, where the natural and raised 6th and 7th degrees are all available, whether going up or down, and whether we are interested in melody or harmony.
Lol
😀
Isn't this just a question of naming conventions? The idea that there is some kind of dividing line between the so-called modes and the major and minor equal temperament scales doesn't have much justification in my opinion. Remember that all these notes apart from the octaves and fifths are considerably out of tune on a modern piano. What functional difference is there between the 'natural minor' and the 'aeolian mode'?
It’s certainly true that the natural minor and the Aeolian mode are the same thing but it’s also true that each mode and both the melodic & harmonic minor scales have their own distinctive order of tones and semitones that give individual character to the musical impact.
@@MusicMattersGB Yes but the impact and character that you are talking about are based on the industrial production of equal temperament pianos which only began about at the beginning of the 20th century. This creates a false equivalence which didn't exist for instance in harpsichord music. But I don't mean to be difficult. You are doing a wonderful job and keep up the good work.
That’s most kind. You’re certainly not being difficult - these are interesting discussions. What’s interesting is that the harmonic and melodic minor scales evolved during the early 1600’s with the advent of the harmonic system following the breakdown of the Church modes.
@@MusicMattersGB Yes but at that time equal temperament hadn't been invented so the sound of the scales was quite different. I remember being taught that the Well-Tempered Clavier was written to show that it was possible to use all the major and minor scales, as with a modern piano, but in fact it was written to demonstrate the differences between all the possible major and minor scales with a harpsichord tuned in a 'well temper', even if we don't know exactly what that was.
Absolutely
How about Phrygian scale ??????????????????????????????????
That’s a different type of scale