Minor scale
In Western music theory, the minor scale is a seven-note diatonic scale that forms the basis of minor keys, featuring a lowered third scale degree—a minor third interval from the tonic—compared to the major scale, which creates its signature somber or melancholic sound.[1] There are three primary variants: the natural minor (also known as Aeolian mode), the harmonic minor, and the melodic minor, each with distinct interval patterns to suit melodic and harmonic contexts.[2][3] The natural minor scale follows the interval pattern of whole step, half step, whole step, whole step, half step, whole step, whole step (W-H-W-W-H-W-W), sharing the same key signature as its relative major scale, which begins a minor third above the minor tonic.[1] In contrast, the harmonic minor raises the seventh degree by a half step (W-H-W-W-H-Aug2-H), introducing a leading tone for stronger harmonic resolution in cadences, such as the dominant V chord to tonic i.[4] The melodic minor adjusts both the sixth and seventh degrees ascending (W-H-W-W-W-W-H) to avoid the awkward augmented second interval and provide a leading tone, while descending it reverts to the natural minor form for smoother stepwise motion.[4][1] Historically, the minor scale evolved from the ancient Greek modal system, where the natural minor corresponds to the Aeolian mode, one of the eight church modes used in medieval and Renaissance music before the standardization of major and minor tonality in the Baroque era.[3] These scales underpin a wide range of compositions across genres, from classical symphonies to modern jazz and popular music, enabling expressive harmonic progressions and emotional depth through parallel and relative key relationships.[1][4]Fundamentals
Definition and characteristics
The minor scale is a foundational seven-note diatonic scale in Western music theory, characterized by a minor third interval above the tonic, which sets it apart from the major scale and typically evokes a somber or melancholic mood.[2][5] This defining feature contributes to its emotional depth, often associated with sadness, introspection, or tension in musical expression.[6] As one of the two primary tonal scales alongside the major, it forms the basis for minor keys and is constructed from the natural minor pattern, influencing harmony, melody, and overall tonality in compositions.[3][4] The minor scale's prominence emerged in Western classical music during the Baroque era (approximately 1600–1750), when major and minor tonalities fully developed as structural pillars, allowing composers to convey complex emotions through key choices.[7] Johann Sebastian Bach, a key figure of this period, frequently employed minor scales in works like The Well-Tempered Clavier to explore harmonic progressions and affective contrasts.[8] Beyond classical traditions, the scale's cultural associations with melancholy persist in folk music and modern genres such as blues, where it underscores themes of longing and resilience.Scale degrees and basic intervals
In the minor scale, the seven scale degrees are identified by numbers from 1 to 7, each with a traditional name that reflects its position relative to the tonic: the first degree (1) is the tonic, the second (2) is the supertonic, the third (3) is the mediant, the fourth (4) is the subdominant, the fifth (5) is the dominant, the sixth (6) is the submediant, and the seventh (7) is the subtonic.[1][9] These names are consistent across diatonic scales, though the subtonic specifically denotes the lowered seventh degree in minor, which lies a whole step below the tonic rather than a half step.[10] The basic intervals from the tonic to each scale degree define the scale's structure: to the supertonic (2) is a major second (two semitones), to the mediant (3) is a minor third (three semitones), to the subdominant (4) is a perfect fourth (five semitones), to the dominant (5) is a perfect fifth (seven semitones), to the submediant (6) is a minor sixth (eight semitones), and to the subtonic (7) is a minor seventh (ten semitones).[11] These intervals arise from the cumulative semitone positions: 0 (tonic), 2, 3, 5, 7, 8, and 10.[12] The stepwise interval pattern of the minor scale, measured in whole steps (W, two semitones) and half steps (H, one semitone), is W-H-W-W-H-W-W, progressing from the tonic through the octave.[11] This pattern distinguishes the minor scale from the major scale (W-W-H-W-W-W-H) primarily through the positions of the half steps, resulting in lowered third, sixth, and seventh degrees relative to the parallel major scale (e.g., E♭, A♭, and B♭ instead of E, A, and B in C minor).[12] Scale degrees are notated using Arabic numerals with carets (e.g., \hat{1}, \hat{3}) or Roman numerals for chords, often incorporating accidentals to indicate the flattened third (\hat{3}), sixth (\hat{6}), and seventh (\hat{7}) degrees that characterize the minor quality.[1] For instance, in the key of A minor, the scale is A-B-C-D-E-F-G, with C (♭\hat{3}), F (♭\hat{6}), and G (♭\hat{7}) marked relative to the major.[11] While the natural minor uses these lowered degrees, the sixth and seventh may be raised in harmonic and melodic minor forms to create different interval relationships.[12]| Scale Degree | Name | Interval from Tonic | Semitones |
|---|---|---|---|
| 1 | Tonic | Unison | 0 |
| 2 | Supertonic | Major second | 2 |
| 3 | Mediant | Minor third | 3 |
| 4 | Subdominant | Perfect fourth | 5 |
| 5 | Dominant | Perfect fifth | 7 |
| 6 | Submediant | Minor sixth | 8 |
| 7 | Subtonic | Minor seventh | 10 |