natural minor scale theory

The natural minor scale as we know of it today evolved from the original four church modes already long in place by the 16th century. Known back then as the Aeolian mode, the existing four modes were enlarged by creating the Aeolian group on the pitch A and Ionian on the pitch C. Saint Dunstan ( 950's ) was attributed to bringing an "Aeolian harp" to his church, much to the chagrin of his peers ( fn ). Either way, we still find all six modes today within the equal temper system. The tonal color created by this group is one of longing and passion, sadness and struggle, with a depth of heartfelt sincerity perhaps unmatched by any of our other melodic colors.

For many players, the natural minor scale is the center of their tonal world. It provides the basis of how they understand the theory and becomes the base to which new colors are added. The natural minor scale provides an artistic and emotional balance to the major scale, with which it is so often paired in musical compositions, each one perhaps contributing part of the joy and sorrow of the many important stories told.

With this in mind, let's create the natural minor scale / Aeolian mode, explore its properties and it's place within the more modern, equal temper system. Using the pitch A for our fundamental, the following chart emerges. Example 1.

Here is it's sound. Example 1a.

To play this scale on the piano, simply start at "A" and use the white keys only. Look familiar? Cool. Example 2.

Just the white keys? Ah, like the C major scale? Are these two groups related? They must be, they share identical pitches. These to groups of pitches are said to be relative, the key of C major is the "relative major" of the key of A "natural minor." So both the major and minor tonal environments exist within the one group of pitches? Yes they do. This simple idea is essential to a fuller understanding of our tonal system. Let’s explore the "relativity" concerning the major/minor tonalities. Example 3.

The relativity between the major and minor tonality occurs due to simply starting the same intervalic formula in two different places. We simply locate on which scale degrees our two important letters are found. From the above chart we find the letter A on the sixth degree of the C major scale and the letter C on the third degree of the A natural minor group. Our "relativity" could be stated as:

So ... the third and sixth degrees eh ...? This simple understanding of creating scale colors by working within one group of pitches is so very important. The ability to project the same numerical theory to each of the keys, is so dependent on this simple concept. This theoretical perspective tremendously facilitates the process of internalizing the information, and so simplifies the playing "process." One very cool property of the this theory is that if you have the 12 natural minor scales under your fingers, the 12 major scales are already there and vice versa! It is all a matter of perspective and knowing the theory. Too cool huh?

Here is a chart comparing the pitches of the natural minor scale with it's relative major color, in all twelve keys, using the cycle of fourths to format the keys. Example 4.

The following examples of twelve natural minor scales are simply notated to facilitate getting the pitches under the fingers. Hip to the chromatic scale? Begin learning these groupings on your instrument. Once under your fingers, by memory, try to gradually expand each group throughout the range of your horn as your abilities permit, in a flowing artistic manner with your best tone. Try adding a surging dynamics to make your practice of these scales as musical as you can. Eventually we want all this info on our internalized hardrive for instant recall at blazing speeds! Example 5.

Got those under your fingers? The following exercise simply takes one melodic idea and permutates it through the 12 minor key tonal centers. When you come across an idea that you like in your playing, make a note to go back and "extract" this idea then permutate this "cell" through the twelve keys. This type of exercise of taking one melodic idea through the 12 keys by ear is a real strengthener for the improvising artist. It is a good mental challenge and creates a unique ability, that when manifested in live performance situations, is just way cool. Example 6.

Easy one huh? Running one idea through the 12 keys by 4ths is a good musical challenge, how about running one idea chromatically through the 12 minor keys? Example 7.

Is chromatic enhancement potentially an integral component on the creative musician's pallete? As stated above, the natural minor color can be the "center" of a players musical universe. This center could also be the major tonality, for lots of players it is the blues. Each of us must choose where our "storyline" is best created, fully explore those colors and branch out from there. It would not be uncommon for an artist to "shift" centers if a more workable universe presents itself. These shifts are oftentimes called "periods" of an artists career. Flexibility is key in merging new resources and perspectives onto our existing artistic palettes. Here is a list of jazz standards written in the minor tonality for your explorations.

Isacoff, Stuart. Temperament. New York: Alfred A. Knopf, 2001, pp. 46-47.

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