View source for Minor scale

{{short description|Triad of scale patterns in music theory}} 
{{Distinguish|text=the simulated nuclear detonation [[Minor Scale]]}}
{{More citations needed|date=June 2025}}
In [[Classical_music|Western classical]] [[music theory]], the '''minor scale''' refers to three [[Scale (music)|scale]] patterns – the '''natural minor scale''' (or [[Aeolian mode]]), the '''[[harmonic minor scale]]''', and the '''melodic minor scale''' (ascending or descending).<ref>{{Cite book|title=Tonal Harmony|last1=Kostka|first1=Stefan|author1-link=Stefan Kostka|last2=Payne|first2=Dorothy|publisher=McGraw-Hill|year=2004|isbn=0-07-285260-7|edition=5th|location=New York|page=12}}</ref>

{{block indent|<score sound="1"> { 
\override Score.TimeSignature #'stencil = ##f
\relative c' { 
  \clef treble \time 7/4
  c4^\markup { C natural minor scale } d es f g aes bes c2
   }
}
</score>}}

{{block indent|<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' { 
  \clef treble \time 7/4 
  c4^\markup { C harmonic minor scale } d es f g aes b!? c2
  }
}
</score>}}

{{block indent|<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' { 
  \clef treble \time 7/4
  c4^\markup { C melodic minor scale } d es f g a!? b!?
  c bes aes g f es d
  c2
  }
}
</score>}}

These scales contain all three notes of a [[minor triad]]: the [[root (chord)|root]], a [[minor third]] (rather than the [[major third]], as in a [[Major chord|major triad]] or [[major scale]]), and a [[perfect fifth]] (rather than the [[tritone|diminished fifth]], as in a [[diminished scale]] or [[half diminished scale]]).

Minor scale is also used to refer to other scales with this property,<ref>[[Ebenezer Prout|Prout, Ebenezer]] (1889). ''Harmony: Its Theory and Practice'', pp. 15, 74, London, Augener.</ref> such as the [[Dorian mode]] or the [[Pentatonic Scale#Minor pentatonic scale|minor pentatonic scale]] (see [[#Other minor scales|other minor scales]] below).

[[File:Major Scale & Minor Scale's Intervals.svg|thumb]]

==Natural minor scale==<!--[[Natural minor scale]] redirects directly here.-->
===Relationship to relative major===
A '''natural minor scale''' (or [[Aeolian mode]]) is a [[diatonic scale]] that is built by starting on the sixth [[Degree (music)|degree]] of its [[relative major|relative]] [[major scale]]. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale:

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' { 
  \clef treble \time 7/4
  c4^\markup { C major scale } d e f g
\override NoteHead.color = #red a \override NoteHead.color = #black b c2 \bar "||"
  \time 9/4
  \override NoteHead.color = #red a,4^\markup { A natural minor scale } \override NoteHead.color = #black b c d e f g a2 }
}
</score>

Because of this, the key of [[A minor]] is called the [[relative key|''relative minor'']] of [[C major]]. Every major key has a relative minor, which starts on the 6th scale degree or step. For instance, since the 6th degree of [[F major]] is D, the relative minor of F major is [[D minor]].

[[File:Natural Minors.svg|thumb]]

===Relationship to parallel major===
A natural minor scale can also be constructed by altering a major scale with [[Accidental (music)|accidentals]]. In this way, a natural minor scale is represented by the following notation:

: 1, 2, {{music|b}}3, 4, 5, {{music|b}}6, {{music|b}}7, 8

This notation is based on the major scale, and represents each degree (each note in the scale) by a number, starting with the tonic (the first, lowest note of the scale). By making use of flat symbols ({{music|b}}) this notation thus represents notes by how they deviate from the notes in the major scale. Because of this, we say that a number without a flat represents a major (or perfect) interval, while a number with a flat represents a minor interval. In this example, the numbers mean:
* 1 = [[Unison#Interval of the unison|(perfect) unison]]
* 2 = [[major second]]
* {{music|b}}3 = [[minor third]]
* 4 = [[perfect fourth]]
* 5 = [[perfect fifth]]
* {{music|b}}6 = [[minor sixth]]
* {{music|b}}7 = [[minor seventh]]
* 8 = [[Perfect octave|(perfect) octave]]

Thus, for instance, the A natural minor scale can be built by lowering the third, sixth, and seventh degrees of the A major scale by one semitone:

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' { 
  \clef treble \time 7/4
  a4^\markup { A major scale } b \override NoteHead.color = #red cis \override NoteHead.color = #black d e \override NoteHead.color = #red fis gis \override NoteHead.color = #black a2 \bar "||"
  \time 9/4
  a,4^\markup { A natural minor scale } b \override NoteHead.color = #red c! \override NoteHead.color = #black d e \override NoteHead.color = #red f! g! \override NoteHead.color = #black a2 }
}
</score>

Because they share the same tonic note of A, the key of A minor is called the [[Parallel key|''parallel minor'']] of [[A major]].

===Intervals===
[[File:A minor scale.png|thumb|This pattern of whole and half steps characterizes the natural minor scales.|260x260px]]
The [[Interval (music)|intervals]] between the notes of a natural minor scale follow the sequence below:
: whole, half, whole, whole, half, whole, whole

where "whole" stands for a [[Major second|whole tone]] (a red u-shaped curve in the figure), and "half" stands for a [[semitone]] (a red angled line in the figure).

The natural minor scale is [[Maximal evenness|maximally even]].

==Harmonic minor scale==
{{main|Harmonic minor scale}}
===Construction===
{{Image frame|content=<score sound="1" override_midi="Schumann First Symphony harmonic minor example.mid">
\relative c {
   \clef bass 
   \time 2/2
   \key g \minor
   \tempo "Allegro"
   g2 a bes4 c2 d4 es2 fis g1
}
</score>|width=360|caption=Theme in harmonic minor from the opening of [[Robert Schumann|Schumann]]'s [[Symphony No. 1 (Schumann)|First Symphony]] (1841)<ref name=Forte>[[Allen Forte|Forte, Allen]] (1979). ''Tonal Harmony'', p. 13. Third edition. Holt, Rinhart, and Winston. {{ISBN|0-03-020756-8}}.</ref>}}The '''harmonic minor scale''' (or Aeolian {{music|natural}}7 scale) has the same notes as the natural minor scale except that the seventh degree is raised by one [[semitone]], creating an [[augmented second]] between the sixth and seventh degrees.

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' { 
  \clef treble \time 7/4
  a4^\markup { A harmonic minor scale } b c d e f gis a2 }
}
</score>
Thus, a harmonic minor scale is represented by the following notation:

: 1, 2, {{music|b}}3, 4, 5, {{music|b}}6, 7, 8
A harmonic minor scale can be built by lowering the 3rd and 6th degrees of the parallel major scale by one semitone.

Because of this construction, the 7th degree of the harmonic minor scale functions as a [[leading tone]] to the [[Tonic (music)|tonic]] because it is a ''semitone'' lower than the tonic, rather than a ''whole tone'' lower than the tonic as it is in natural minor scales.

===Intervals===
The [[Interval (music)|intervals]] between the notes of a harmonic minor scale follow the sequence below:

: whole, half, whole, whole, half, augmented second, half

===Uses===
While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in [[Mozart]], [[Beethoven]] (for example, the finale of his [[String Quartet No. 14 (Beethoven)|String Quartet No. 14]]), and [[Schubert]] (for example, in the first movement of the ''[[Death and the Maiden Quartet]]''). In this role, it is used while descending far more often than while ascending. A familiar example of the descending scale is heard in a [[ring of bells]]. A ring of twelve is sometimes augmented with a 5♯ and 6♭ to make a 10 note harmonic minor scale from bell 2 to bell 11 (for example, Worcester Cathedral).<ref>[https://dove.cccbr.org.uk/detail.php?DoveID=WORCESTER "Dove's Guide"]</ref>

The [[Hungarian minor scale]] is similar to the harmonic minor scale but with a raised 4th degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by [[Miles Davis]] who describes it in his autobiography as "something that I'd learned at Juilliard".<ref>{{cite book|last = Davis|first = Miles|last2 = Troupe|first2 = Quincy|title = Miles, the Autobiography|year = 1990|publisher = Simon & Schuster|isbn = 0-671-72582-3|pages = [https://archive.org/details/milesautobiograp0000davi/page/64 64]|url = https://archive.org/details/milesautobiograp0000davi/page/64}}</ref>

In popular music, examples of songs in harmonic minor include [[Katy B]]'s "[[Easy Please Me]]", [[Bobby Brown]]'s "[[My Prerogative]]", and [[Jazmine Sullivan]]'s "[[Bust Your Windows]]". The scale also had a notable influence on heavy metal, spawning a sub-genre known as [[neoclassical metal]], with guitarists such as [[Chuck Schuldiner]], [[Yngwie Malmsteen]], [[Ritchie Blackmore]], and [[Randy Rhoads]] employing it in their music.<ref>{{Cite web|url=https://www.allmusic.com/style/neo-classical-metal-ma0000011866|title=Neo-Classical Metal Music Genre Overview {{!}} AllMusic|website=AllMusic|access-date=2018-11-26}}</ref>

==Melodic minor scale==
{{further|Jazz minor scale}}
===Construction===
The distinctive sound of the harmonic minor scale comes from the [[augmented second]] between its sixth and seventh scale degrees. While some composers have used this interval to advantage in melodic composition, others felt it to be an awkward leap, particularly in [[vocal music]], and preferred a [[whole step]] between these scale degrees for smooth melody writing. To eliminate the augmented second, these composers either raised the sixth degree by a [[semitone]] or lowered the seventh by a semitone.

The '''melodic minor scale''' is formed by using ''both'' of these solutions. In particular, the raised sixth appears in the ascending form of the scale, while the lowered seventh appears in the descending form of the scale. Traditionally, these two forms are referred to as:
* the ''ascending melodic minor scale'' or [[jazz minor scale]] (also known as the Ionian {{music|flat}}3 or Dorian {{music|natural}}7): this form of the scale is also the 5th mode of the [[acoustic scale]].
* the ''descending melodic minor scale'': this form is identical to the natural minor scale .
The ascending and descending forms of the A melodic minor scale are shown below:

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f\relative c' {
  \clef treble \time 7/4 \hide Staff.TimeSignature
  \override Voice.TextScript.font-size = #-2
  a4^\markup { Ascending melodic minor } b c d e fis gis
  a^\markup { Descending melodic minor } g! f! e d c b a2 }
}

</score>
The ascending melodic minor scale can be notated as

: 1, 2, {{music|b}}3, 4, 5, 6, 7, 8

while the descending melodic minor scale is

: 8, {{music|b}}7, {{music|b}}6, 5, 4, {{music|b}}3, 2, 1

Using these notations, the two melodic minor scales can be built by altering the parallel major scale.

===Intervals===
The intervals between the notes of an ascending melodic minor scale follow the sequence below:
: whole, half, whole, whole, whole, whole, half

The intervals between the notes of a descending melodic minor scale are the same as those of a descending natural minor scale.

===Uses===
{{Image frame
|content = <score sound="1">
    \relative c''' {
        \set Staff.midiInstrument = #"violin"
        \set Score.tempoHideNote = ##t \tempo 4 = 120
        \key g \dorian
        \time 4/4
        g8^\markup \bold "Allegro"
        f16 es d c bes a g a bes c d e fis g
        fis8[ d]
    }
</score>
|caption = Theme in G melodic minor from the opening of the second concerto in [[Antonio Vivaldi|Vivaldi]]'s ''[[L'estro armonico]]'' (1711)<ref name=Forte /> Although the piece is in G minor, the key signature is for G [[Dorian mode|Dorian]] (one flat). By convention, in modern notation (and for tonal music written since the [[common-practice period]]), key signatures are typically only based on a major ([[Ionian mode]]) or minor (natural minor or [[Aeolian mode]]) key, not on modes like the Dorian mode.
|width = 420
}}

Composers have not been consistent in using the two forms of the melodic minor scale. Composers frequently require the lowered 7th degree found in the natural minor in order to avoid the augmented triad (III{{music|aug}}) that arises in the ascending form of the scale.

Examples of the use of melodic minor in [[rock music|rock]] and [[popular music]] include [[Elton John]]'s "[[Sorry Seems to Be the Hardest Word]]", which makes, "a nod to the common practice... by the use of F{{music|#}} [the [[Leading-tone|leading tone]] in G minor] as the penultimate note of the final [[cadence]]."<ref>{{cite book|last=Stephenson|first=Ken|year=2002|title=What to Listen for in Rock: A Stylistic Analysis|page=41|publisher=Yale University Press|isbn=9780300128239}}</ref> [[The Beatles]]' "[[Yesterday (Beatles song)|Yesterday]]" also partly uses the melodic minor scale.{{cn|date=February 2022}}

==Other minor scales==
Other scales with a minor third and a perfect fifth (i.e. containing a [[Minor chord|minor triad]]) are also commonly referred to as minor scales.

Within the [[Diatonic scale|diatonic modes of the major scale]], in addition to the [[Aeolian mode]] (which is the natural minor scale), the '''[[Dorian mode]]''' and the '''[[Phrygian mode]]''' also fall under this definition. Conversely, the [[Locrian mode]] has a minor third, but a ''diminished'' fifth (thus containing a [[diminished triad]]), and is therefore not commonly referred to as a minor scale.

The '''[[Hungarian minor scale]]''' is another [[Heptatonic_scale|heptatonic]] (7-note) scale referred to as minor.

The '''[[Jazz minor scale]]''' is a name for the melodic minor scale when only the "ascending form" is used.

Non-heptatonic scales may also be called "minor", such as the '''[[Pentatonic_Scale#Minor_pentatonic_scale|minor pentatonic scale]]'''.<ref>Bruce Benward and Marilyn Nadine Saker (2003), ''Music: In Theory and Practice'', seventh edition (Boston: McGraw Hill), vol. I, p.&nbsp;37. {{ISBN|978-0-07-294262-0}}.</ref>

===Limits of terminology===
While any other scale containing a minor triad could be defined as a "minor scale", the terminology is less commonly used for some scales, especially those further [[Scale_(music)#Non-Western_scales|outside the Western classical tradition]].

The hexatonic (6-note) '''[[blues scale]]''' is similar to the minor pentatonic scale and fits the above definition. However, the flat fifth is present as a passing tone along with the perfect fifth, and the scale is often played with microtonal mixing of the major and minor thirds – thus making it harder to classify as a "major" or "minor" scale.

The two '''[[Neapolitan scale]]s''' are both "minor scales" following the above definition, but were historically referred to as the "Neapolitan Major" or "Neapolitan Minor" based rather on the quality of their [[major sixth|''sixth'' degree]].

==Key signature==
In modern notation, the [[key signature]] for music in a [[Minor-key|minor key]] is typically based on the [[Accidental (music)|accidentals]] of the ''natural'' minor scale, not on those of the harmonic or melodic minor scales. For example, a piece in E minor will have one sharp in its key signature because the E natural minor scale has one sharp (F{{music|sharp}}).

Major and minor keys that share the same [[key signature]] are ''[[Relative key|relative]]'' to each other. For instance, F major is the relative major of D minor since both have key signatures with one flat. Since the natural minor scale is built on the 6th degree of the major scale, the tonic of the relative minor is a [[major sixth]] above the tonic of the major scale. For instance, B minor is the relative minor of D major because the note B is a major sixth above D. As a result, the key signatures of B minor and D major both have two sharps (F{{music|sharp}} and C{{music|sharp}}).

== Other notations and usage ==
When expressing the names of minor scale keys as abbreviations, the alphabet of the corresponding tonic note name can be written in lower case letters to indicate only the tonic note name. For example, when expressing the English notation of [[A minor]], it can be abbreviated as '<nowiki/>'''[[A minor|a]]'''<nowiki/>'. Plus, when expressing the names of [[major scale]] keys as abbreviations, the Roman alphabet of the corresponding tonic note is sometimes upper case to indicate only the tonic note name. For example, when expressing the English notation of [[C major]], it is abbreviated as ''''[[C major|C]]'''<nowiki/>'.<ref>{{Cite web |date=Sep 2024 |title=StackExchange - Questions - Capitalization of key names (C Minor vs. c minor) |url=https://music.stackexchange.com/questions/877/capitalization-of-key-names-c-minor-vs-c-minor}}</ref>

== See also ==
* [[Diatonic functionality]]
* [[Jazz minor scale]]
* [[Jazz scale#Modes of the melodic minor scale]]
* [[Major scale]]

==References==
{{Reflist}}

==Further reading==
* Hewitt, Michael. 2013. ''Musical Scales of the World''. The Note Tree. {{ISBN|978-0-9575470-0-1}}.
* Yamaguchi, Masaya. 2006. ''The Complete Thesaurus of Musical Scales'', revised edition. New York: Masaya Music Services. {{ISBN|0-9676353-0-6}}.

==External links==
* [http://www.youraccompanist.com/index.php?option=com_content&task=view&id=61&Itemid=104 Listen to and download harmonised minor scale piano MP3s]
* [https://www.apronus.com/music/lessons/natural-minor-scales Natural Minor Scales explained on a virtual piano]

{{Circle of fifths}}
{{Scales}}

[[Category:Heptatonic scales]]
[[Category:Minor scales| ]]
[[Category:Modes (music)]]