Let's enter into the musical numerical world of the natural minor scale and examine each of the seven scale degrees. Why would we want to do this? Well, simply to put a handle / label on each of the pitches, easing discussion of the theory. Here is a chart to match up the scale degrees and pitches of the natural minor scale built on the root A. Your cool with the numbers right? Example 1.
scale degree |
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
A natural minor scale |
A | B | C | D | E | F | G | A |
Look familiar? All that we've done here is to give each of the pitches in the key of A natural minor a numerical equivalent based on its relative position to the fundamental, which in the above illustration is A, our starting point identified as number one ( 1 ). With the consistency of creating the 12 major scales and keys from one intervalic formula, is the same is true for the natural minor? Absolutely, different formula of course. Thus, all of the theory we discover using the one key of A natural minor applies to the other 11 natural minor keys. We simply change the letter names to whatever key center we are inspecting. Using the above chart for example;
| A is the first degree, the tonic |
| B is termed the second, |
| C is the third scale degree of the A minor scale |
| D is the fourth |
| E is the fifth |
| F is the sixth |
| G is the seventh |
| A is the eighth, one octave above our starting point |
Each of the scale degrees of the minor scale play varying roles in the creation of tension and its release. The following idea simply looks at each of the scale degrees from the root A. Some interesting colors from the intervals emerge. Example 1.
| unison | maj 2nd | min 3rd | perf 4th | perf 5th | min 6th | min 7th | per octave |
Lets examine each degree individually and look at some of its alias's, uses and properties in the tonal world, and to try create a bit of "art" from the "theory."
First scale degree. Pour moi, the first scale degree in the minor tonality "one", the tonic, fundamental or root, is the center of the minor tonality. As the center, the tonic tends to "pull" the other scale degrees towards it, creating that sense of resolution and coming to rest in the somber tone of the minor environment. This first degree is the root of the tonic minor triad, a key, structural foundation for musical art. The following lick simply creates tonal gravity towards the tonic. Example 2.
Second scale degree. The second scale, "two" or "supertonic", root of the pivotal "Two" chord, generally used as a passing tone and as with the major scale, with tremendous passionate effect up one octave as the ninth above the tonic ( bar 8 ). The ninth degree can become a very important "modern" color. Example 3.
Third scale degree. The third scale degree, "three", the "mediant", defines tonic and triad quality as to being either in the major or minor environment. By being the second member of the tonic triad, a very strong melodic component. Probably the number one "blue note", excepting the tonic of course, in blues lines in either the major or minor tonal environment. This scale degree has been shook, shaken, bent, shimmied, stretched, snapped, glissed and glossed to achieve the maximum "blue" effect! Example 4.
Fourth scale degree. The fourth scale degree, the "subdominant", is a key player in the melodic realm in that it has the ability to suspend the sense of tonal gravity as created by the tonic. One of three components in standard blues form, the fourth degree diatonically provides a secondary resting point within the purely diatonic realm that is not the tonic, so, thus it becomes a popular destination in many of the styles of American music. Motion to Four can be as cool and common as it gets, way favorite of the rock, folk and country players, thus, an integral element in the storytelling ability of our musical system. Example 5.
Fifth scale degree. The fifth scale degree, the Five chord, the dominant, is a very heavy player in the minor tonality. Jazz legend John Coltrane seemed to love this pitch when first venturing forth in his improvisations, and to my way of listening, really got close to the power of what the sounding of this pitch can command. The ancient idea that the sounding of the fifth "heralds" something more important yet to come. Third pitch of minor tonic triad. Example 6.
Sixth scale degree. The sixth scale degree, Six, the submediant of the natural minor scale is interesting in that in it's proximity to the dominant, motion by half step can create some deceptive events, creating the potential for musical surprises. Common in clusters surrounding the dominant, phrases that end on the sixth degree or up an octave as the 13th, oftentimes take on a softer, "far away" emotional quality. Example 7.
Seventh scale degree. The seventh, the "subtonic" in the minor key, is generally "pulled" upwards by the strength of the tonic. Big player in the jazz, blues and rock worlds, the flat seventh scale degree creates a suspended feeling when used over tonic harmony. As part of the dominant seventh chord, the seventh is the key pitch which completes the tension creating tritone within the chord. Also a common element in minor colored clusters of pitches. Example 8.
Eighth scale degree. The eighth degree, the "tonic", is in one sense the "Rome" to where musical roads go. Example 9.
Here is a handy chart for identifying the scale degree / letter names of each of the 12 natural minor scales. Example 10.
12 natural minor scales by scale degree. |
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What about the other 5 pitches of the chromatic scale not discussed above? The ones between the pitches above? Yep. Is there a minor tonality without a tritone? How about a counterpart page for scale degrees in the major tonality? So ...
| Where to next? | ||||
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"Obstacles are those frightful things you see when you take your eyes off your goal." Henry Ford
