Key Takeaways
- Three minor scale variants differ only in whether scale degrees VI and VII are raised or lowered — think of them as a single flexible system, not separate scales
- Harmonic minor raises VII to restore the leading tone; melodic minor also raises VI to eliminate the resulting augmented second
- Parallel thinking (minor as major with lowered III/VI/VII) is more practical for memorization than relative-key thinking
Natural Minor ▶ 0:18
- Natural minor: major scale restarted on scale degree VI — same notes, different tonic; half steps fall between II–III and V–VI (vs. III–IV and VII–I in major)
- Subtonic: name for scale degree VII in natural minor — a whole step below tonic, no leading-tone pull (vs. leading tone in major)
Harmonic Minor ▶ 2:03
- Harmonic minor: raises VII by semitone → restores leading tone and its gravitational pull toward tonic
- Side effect: gap between VI and VII becomes 3 semitones — an augmented second, considered ugly and unsingable in Renaissance/Baroque practice
Melodic Minor ▶ 3:40
- Melodic minor: raises both VI and VII — eliminates the augmented second while keeping the leading tone
- Conventional form: ascending = raised VI & VII; descending = lowered VI & VII (back to natural minor)
- In practice, composers used raised/lowered forms freely in either direction — see Beethoven op. 95 and Bach E-minor partita examples ▶ 4:55
Parallel Comparison: Major vs. Minor ▶ 8:15
- All four parallel scales (major + 3 minors) share scale degrees I, II, IV, V — only III, VI, VII vary
| Scale | vs. Major: lower these degrees |
|---|---|
| Natural minor | III, VI, VII |
| Harmonic minor | III, VI |
| Melodic minor | III only |
- Parallel thinking is essential for 19th-c. music (Schubert, Mahler), where major/minor toggle note-by-note
