{"id":10751,"date":"2015-12-13T08:00:00","date_gmt":"2015-12-13T16:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10751"},"modified":"2024-10-16T03:24:10","modified_gmt":"2024-10-16T11:24:10","slug":"shortcomings-of-the-natural-minor-scale-and-origin-of-the-harmonic-minor-scale","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/shortcomings-of-the-natural-minor-scale-and-origin-of-the-harmonic-minor-scale\/","title":{"rendered":"Shortcomings of the Natural Minor Scale and the Origin of the Harmonic Minor Scale"},"content":{"rendered":"

If you’ve heard of the natural minor scale variation called the harmonic minor scale<\/em> and always wondered how this variation came about, then this post is a must for you.<\/p>\n

We’ll be discussing the shortcomings of the natural minor scale and how it created the need for a suitable variation.<\/p>\n

But first, let me take you back a little.<\/p>\n

Even though the use of modes was revived in the 20th century by jazz musicians like Miles Davis, Herbie Hancock, etc, they are an obsolete melodic system.<\/p>\n

After several centuries, tonality<\/em> was introduced. In tonality, a note is represented as the key center or key<\/em> and is associated with the term major<\/em> or minor<\/em>. This largely depends on the characteristic emotion the scale evokes.<\/p>\n

The terms major and minor are used to describe key centers (tonalities) and that’s why there’s a major key and a minor key. Even though tonal music replaced modal music, the present day major and minor scales are similar to two modes – Ionian<\/em> and Aeolian<\/em>.<\/p>\n

Ionian mode and the major scale are identical:
\n\"origin<\/p>\n

Aeolian mode and the minor scale are identical:
\n<\/p>\n

In this article, we’ll use C major to represent major scales and A minor to represent minor scales.<\/p>\n

The Leading Note Property<\/h2>\n

Major and minor scales have seven degrees. The major scale of C has seven tones:
\n<\/p>\n

The minor scale of A has seven tones:
\n<\/p>\n

Each tone is seen as a degree<\/em> of the scale. Every degree of the scale has its technical name and this largely depends on its tonal position and\/or function.<\/p>\n

\n

1st Degree<\/strong> = Tonic<\/p>\n

2nd Degree<\/strong> = Supertonic<\/p>\n

3rd Degree<\/strong> = Mediant<\/p>\n

4th Degree<\/strong> = Subdominant<\/p>\n

5th Degree<\/strong> = Dominant<\/p>\n

6th Degree<\/strong> = Submediant<\/p>\n

7th Degree<\/strong> = Subtonic or Leading tone (see below)<\/p>\n<\/div>\n

A scale is said to have the leading note property if the distance between the subtonic (seventh) and the tonic (first) is a semitone or half step. The subtonic can be called a leading note or leading tone if a scale possesses such a property.<\/p>\n

Between the subtonic and tonic of the major scale (B-C) is a semitone<\/strong> or half step<\/strong>.
\n<\/p>\n

Between the subtonic and tonic of the minor scale (G-A) is a wholetone<\/strong> or whole step<\/strong>.
\n<\/p>\n

From the illustration above, the major scale has the leading note property while the minor scale doesn’t. This is the shortcoming of the pure natural minor scale – it does not have the leading note property.<\/p>\n

The Harmonic Problem<\/h2>\n

Let’s look at the strongest progression in tonal music: the 5-1 progression.<\/strong><\/p>\n

Earlier in this lesson, we associated the fifth degree of the scale with the technical name – dominant<\/em>.<\/p>\n

In the major key, from chord 5 to chord 1 will imply a movement from G major (the dominant) to C major (the tonic).
\n<\/p>\n

<\/p>\n

The chord progression from the dominant (chord 5) to the tonic (chord 1) will have a stronger pull because of the presence of the leading note (B). Therefore, the leading note<\/em> is the essential harmonic attribute of dominant chords (in tonality) that determines the strength or pull of the dominant to the tonic.<\/p>\n

In the minor key,  a chord movement from chord 5 to chord 1 (the harmonic destination) is given as E minor (the dominant) to A minor (the tonic).
\n<\/p>\n

<\/p>\n

The chord progression from the dominant (chord 5) to the tonic (chord 1) is weak because the leading note (G\u266f<\/b><\/span>) is not a chord tone of E minor. Therefore, the absence of the leading note in chord 5 creates a weaker progressions in the minor key.<\/p>\n

The Harmonic Solution – Origin of the Harmonic Minor Scale<\/h2>\n

Being faced with the harmonic problem of the natural minor scale – that is, the absence of the leading note in its dominant chord, there was need to add the leading note to the minor scale. The leading note is a semitone lower (and sometimes higher) than a given note. In the case of the key of A minor, its leading note is G\u266f<\/b>.<\/span>
\n<\/p>\n

In traditional practice, duplication of notes that belong to the same alphabet is forbidden because it yields a false relationship called musica ficta<\/a><\/em>. Therefore, G is substituted with G\u266f<\/b><\/span> to yield a new scale:
\n<\/p>\n

Owing to the harmonic solution this scale provides, it’s universally known as the harmonic minor<\/em> scale. In this new scale, the quality of the dominant changes from minor to major because of the G\u266f<\/b><\/span> now present. Therefore, a 5-1 progression in the minor key now uses E major – A major:
\n<\/p>\n

<\/p>\n

The presence of the leading note (G\u266f<\/b><\/span>) in the dominant chord creates a stronger pull to the tonic.<\/p>\n

 <\/p>\n

Final Words<\/h2>\n

The implication of the leading note property in the minor scale is that it gives us a new scale that has the harmonic ability that the natural minor scale does not have.<\/p>\n

Secondly, it builds the bridge that connects keys (parallel relationship between keys). For instance, A major and A minor will have the same dominant. Likewise, D major and D minor will have the same kind of dominant chord on their 5th degree.<\/p>\n

The natural minor scale still has its place in tonal music. However, when it comes to harmony, it is substituted with the harmonic minor scale because of its shortcoming.<\/p>\n

Until next time.<\/p>\n","protected":false},"excerpt":{"rendered":"

Learn the shortcomings of the natural minor scale and the origin of the harmonic minor scale, which was introduced as solution.<\/p>\n","protected":false},"author":9,"featured_media":23015,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9,229],"tags":[17,493,496,1873,1874],"class_list":["post-10751","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","category-scales-theory-piano","tag-basic-songs","tag-harmonic-minor-scale","tag-natural-minor-scale","tag-origin-of-the-harmonic-minor-scale","tag-scale-degree-chords","post-wrapper","thrv_wrapper"],"yoast_head":"\nShortcomings of the Natural Minor Scale and the Origin of the Harmonic Minor Scale - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Learn the shortcomings of the natural minor scale and the origin of the harmonic minor scale, which was introduced as 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