Natural Minor Scale
The natural minor scale follows the sequence of steps:
- whole, half, whole, whole, half, whole, whole
In semitones, this is
- two, one, two, two, one, two, and two (2 1 2 2 1 2 2)
If the white notes on the piano are played beginning on the sixth step of the C major scale, which is A, to the A an octave above, then a natural minor scale is produced. In this case the minor scale is called A minor, and this minor scale has no accidentals (sharps or flats). A minor is called the relative minor of C. Every major key has a relative minor, which starts on the sixth scale degree or step.
The natural minor scale can also be represented by the notation:
- 1 2 ♭3 4 5 ♭6 ♭7 8
Each degree of the scale, starting with the tonic (the first, lowest note of the scale), is represented by a number. Their difference from the major scale is shown. Thus a number without a sharp or flat represents a major (or perfect) interval. A number with a flat represents a minor interval, and a number with a sharp (though there are none in this example) represents an augmented interval. In this example, the numbers mean: 1=unison, 2=major second, ♭3=minor third, 4=perfect fourth, 5=perfect fifth, ♭6=minor sixth, ♭7=minor seventh, 8=octave. So, the natural minor scale consists of: 1, the tonic, followed by 2, a note a major second above the tonic, ♭3, a note a minor third above the tonic, and so forth, up to 8, a note an octave above the tonic.
The natural minor scale is enharmonically equivalent to the Aeolian mode, although scales and modes are built upon different systems and are technically not the same.
In rock and popular music examples of songs in Aeolian include The Moody Blues' "Nights in White Satin", Blondie's "Call Me", Spinal Tap's "Lick My Love Pump", and Chicago's "25 Or 6 To 4".
Read more about this topic: Minor Scale
Famous quotes containing the words natural, minor and/or scale:
“Surely knowledge of the natural world, knowledge of the human condition, knowledge of the nature and dynamics of society, knowledge of the past so that one may use it in experiencing the present and aspiring to the future—all of these, it would seem reasonable to suppose, are essential to an educated man. To these must be added another—knowledge of the products of our artistic heritage that mark the history of our esthetic wonder and delight.”
—Jerome S. Bruner (20th century)
“To minor authors is left the ornamentation of the commonplace: these do not bother about any reinventing of the world; they merely try to squeeze the best they can out of a given order of things, out of traditional patterns of fiction.”
—Vladimir Nabokov (1899–1977)
“It is in vain that we would circumscribe the power of one half of our race, and that half by far the most important and influential. If they exert it not for good, they will for evil; if they advance not knowledge, they will perpetuate ignorance. Let women stand where they may in the scale of improvement, their position decides that of the race.”
—Frances Wright (1795–1852)