F minor
F minor is a minor scale and key in Western music theory, consisting of the pitches F, G, A♭, B♭, C, D♭, and E♭, with a key signature of four flats: B♭, E♭, A♭, and D♭.[1] Its relative major is A♭ major, sharing the same key signature, while its parallel major is F major, which has only one flat.[2] The natural minor scale follows a pattern of whole and half steps: whole, half, whole, whole, half, whole, whole; the harmonic minor raises the seventh degree (E♭ to E♮) for a stronger leading tone, and the melodic minor raises both the sixth (D♭ to D♮) and seventh when ascending, reverting to natural on descent.[3] Historically, F minor has been associated with deep melancholy and emotional intensity, often evoking themes of depression, lamentation, and longing, as described in Christian Schubart's 1806 Ideen zu einer Ästhetik der Tonkunst, where it is characterized as a "funereal lament" full of "groans of misery."[4] This somber quality arises from its minor third (A♭) and the flattened notes that contribute to a darker tonal color compared to brighter major keys.[5] In the Baroque and Classical eras, composers like Johann Sebastian Bach used F minor for introspective works such as the Chorale Prelude "Ich ruf zu dir, Herr Jesu Christ," BWV 639, while Wolfgang Amadeus Mozart employed it in the Fantasia in F minor, K. 594, a piece for mechanical organ that blends solemnity with technical display.[6][7] Ludwig van Beethoven's early Piano Sonata No. 1 in F minor, Op. 2 No. 1 (1795) showcases the key's dramatic potential, dedicated to Haydn and marking Beethoven's bold entry into sonata form.[8] In the Romantic period, F minor became a vehicle for profound passion and narrative depth, as seen in Frédéric Chopin's Ballade No. 4 in F minor, Op. 52 (1842), a virtuosic piano work that unfolds like a stormy drama, and his Nocturne in F minor, Op. 55 No. 1 (1843), noted for its lyrical melancholy.[9][10] Other notable examples include Franz Schubert's Fantasia in F minor, D. 940 (1828) for piano four hands, emphasizing intimate dialogue and emotional turbulence, Antonín Dvořák's Romance in F minor, Op. 11 (1877), originally for violin and orchestra, which conveys heartfelt longing, Pyotr Ilyich Tchaikovsky's Romance in F minor, Op. 5 (1868) for piano, and Johannes Brahms's Piano Sonata No. 3 in F minor, Op. 5 (1853), which highlights the key's capacity for youthful vigor amid sorrow.[11][12][13][14] In the 20th and 21st centuries, F minor continues to be used across genres for its emotional depth, appearing in popular music such as Nirvana's "Smells Like Teen Spirit" and The Beatles' "Michelle."[1]Scale and construction
Natural minor scale
The natural minor scale in F consists of the pitches F, G, A♭, B♭, C, D♭, E♭, and F, forming both the ascending and descending forms without alteration between directions.[15][16] This scale is constructed by beginning on the tonic pitch F and applying the characteristic interval pattern of the natural minor: whole step, half step, whole step, whole step, half step, whole step, whole step (W-H-W-W-H-W-W).[15] From the parallel F major scale (F, G, A, B♭, C, D, E, F), the natural minor form lowers the third degree from A to A♭, the sixth degree from D to D♭, and the seventh degree from E to E♭, creating the minor third interval from the tonic that defines its overall tonality.[15] In standard musical notation, the F natural minor scale is written in the treble clef starting from F4 in the bottom space, ascending stepwise through G4 (on the second line), A♭4 (in the second space), B♭4 (on the third line), C5 (in the third space), D♭5 (on the fourth line), E♭5 (in the fourth space), and F5 (on the top line).[16] In the bass clef, it begins on F3 on the fourth line of the staff, proceeding: G3 (fourth space), A♭3 (top line), B♭3 (space above the top line), C4 (first ledger line above), D♭4 (first space above), E♭4 (second line above), and F4 (second space above).[17] The descending scale reverses this order, maintaining the same pitches.[15]Treble Clef (Ascending): F - G - A♭ - B♭ - C - D♭ - E♭ - FTreble Clef (Ascending): F - G - A♭ - B♭ - C - D♭ - E♭ - F
Bass Clef (Ascending): F - G - A♭ - B♭ - C - D♭ - E♭ - FBass Clef (Ascending): F - G - A♭ - B♭ - C - D♭ - E♭ - F
Harmonic and melodic minor variants
The harmonic minor scale in F minor consists of the pitches F, G, A♭, B♭, C, D♭, and E, returning to F, where the seventh scale degree is raised from E♭ to E natural.[18] This alteration introduces a leading tone (E natural) that creates a stronger half-step resolution to the tonic F, facilitating dominant-to-tonic cadences in harmonic progressions, such as the V-i chord movement.[19] The raised seventh addresses the weaker resolution of the natural minor's subtonic (E♭) while preserving the minor third (A♭) essential to the mode's character.[20] The melodic minor scale modifies the natural minor further for smoother ascending lines. Ascending, it uses F, G, A♭, B♭, C, D, and E, raising both the sixth (from D♭ to D natural) and seventh (to E natural) scale degrees before resolving to F.[21] Descending, it reverts to the natural minor form: F, E♭, D♭, C, B♭, A♭, G, F, avoiding the raised tones to maintain the diatonic minor's intervallic flow.[22] This bidirectional asymmetry mitigates the augmented second interval (between D♭ and E) present in the harmonic minor, which can sound dissonant in melodic contexts.[19] In jazz improvisation, the melodic minor scale is applied consistently in both ascending and descending directions, retaining the raised sixth and seventh degrees without reverting to the natural minor on descent.[23] This uniform form provides a versatile palette for modal interchange and altered dominant chords, such as over minor-major seventh harmonies.[24] These variants emerged in Western classical music during the early Baroque period to enhance tonal resolution and melodic fluency over the natural minor scale.[25] The harmonic form prioritized chordal functionality by introducing the leading tone, while the melodic form balanced this with intervallic adjustments to eliminate awkward leaps, reflecting evolving compositional practices from the Renaissance onward.[26]Key relationships
Relative and parallel keys
The relative major of F minor is A♭ major, which shares the identical key signature of four flats (B♭, E♭, A♭, D♭) and the same set of pitches, differing only in the starting note and tonal center.[27] This structural equivalence facilitates modal interchange, where chords from A♭ major—such as the borrowed A♭ major triad or E♭ major dominant—are incorporated into F minor progressions to introduce brighter or more stable harmonic colors without altering the overall key signature.[28] The parallel major of F minor is F major, which employs a key signature of one flat (B♭), resulting in a difference of three accidentals compared to F minor's four flats, primarily through the raising of A♭, D♭, and E♭ to A, D, and E.[1] This relationship underscores a direct tonal opposition on the same tonic pitch, enabling smooth shifts between minor melancholy and major resolution in compositions via simple chromatic alterations.[29] In the circle of fifths, F minor occupies a position with four flats, serving as the relative minor to A♭ major and situated among the flat-key minors; it is the fourth minor key in the sequence starting from D minor (one flat) through G minor (two flats) and C minor (three flats).[30] Its dominant key is C minor (a perfect fifth above the tonic; three flats), while the subdominant key is B♭ minor (a perfect fourth above; five flats), enabling diatonic connections for modulation.[31] These key relationships, particularly between F minor and its relative A♭ major, allow for effortless modulation in compositions, often achieved through common chords like the shared subdominant B♭ major triad, promoting fluid tonal shifts without introducing distant accidentals.[32]Enharmonic equivalent
The enharmonic equivalent of F minor is E♯ minor, a key that produces identical pitches but employs different notation. The natural minor scale in E♯ minor comprises the notes E♯, F♯♯, G♯, A♯, B♯, C♯, and D♯, which sound the same as the F, G, A♭, B♭, C, D♭, and E♭ of the F minor scale.[33] This equivalence arises because E♯ is the same pitch as F in equal temperament, allowing the scales to overlap completely despite their distinct spellings.[34] The key signature of F minor includes four flats (B♭, E♭, A♭, D♭), providing a straightforward notation for Western music. In contrast, E♯ minor, as the relative minor of G♯ major, theoretically demands a key signature with eight sharps (F♯, C♯, G♯, D♯, A♯, E♯, B♯, F♯♯), along with additional accidentals in practice, rendering it cumbersome and rarely adopted. This disparity in complexity influences compositional choices, as the abundance of sharps and double sharps in E♯ minor notation can complicate reading and performance.[35] E♯ minor remains primarily theoretical, appearing infrequently in actual compositions due to its notational challenges, though it may surface in contexts requiring sharp-based key relationships, such as modulations within predominantly sharp-key works or pedagogical exercises. In historical Western music, F minor is overwhelmingly preferred for its simplicity, avoiding the ledger lines and double accidentals that plague E♯ minor notation on staff paper.[34] While microtonal explorations occasionally invoke E♯ minor for conceptual purposes, practical usage in equal-tempered music is negligible, with no prominent examples in standard repertoire.[35]Harmonic elements
Diatonic chords
The diatonic chords of the F minor natural scale are constructed by stacking successive thirds using only the pitches of the scale: F, G, A♭, B♭, C, D♭, E♭. This method yields seven basic triads, each built on a scale degree, with qualities determined by the intervals formed (minor third plus major third for minor triads, minor third plus minor third for diminished, and major third plus minor third for major).[36][37] The diatonic triads, denoted in Roman numeral analysis (lowercase for minor, uppercase for major, with ° for diminished), are as follows:| Roman Numeral | Chord Name | Notes | Quality |
|---|---|---|---|
| i | F minor | F–A♭–C | minor |
| ii° | G diminished | G–B♭–D♭ | diminished |
| III | A♭ major | A♭–C–E♭ | major |
| iv | B♭ minor | B♭–D♭–F | minor |
| v | C minor | C–E♭–G | minor |
| VI | D♭ major | D♭–F–A♭ | major |
| VII | E♭ major | E♭–G–B♭ | major |
| Roman Numeral | Chord Name | Notes | Intervals (3rd, 5th, 7th) |
|---|---|---|---|
| i7 | F minor 7 | F–A♭–C–E♭ | m3, P5, m7 |
| ii°7 | G half-diminished 7 | G–B♭–D♭–F | m3, d5, m7 |
| III7 | A♭ major 7 | A♭–C–E♭–G | M3, P5, M7 |
| iv7 | B♭ minor 7 | B♭–D♭–F–A♭ | m3, P5, m7 |
| v7 | C minor 7 | C–E♭–G–B♭ | m3, P5, m7 |
| VI7 | D♭ major 7 | D♭–F–A♭–C | M3, P5, M7 |
| VII7 | E♭ dominant 7 | E♭–G–B♭–D♭ | M3, P5, m7 |