VasquezBob wrote: ↑
Tue Sep 10, 2019 11:32 pm
musikai wrote: ↑
Tue Sep 10, 2019 11:26 am
VasquezBob wrote: ↑
Mon Sep 09, 2019 2:52 am
I've reviewed this thread a couple of times and the approach seems quite confusing. I just harmonized the three A-minor scales and didn't need a flat. Further, if a flat was required, then, the F# only needed a 'natural sign' to get back to 'F'. Now, I must admit that I'm learning, too, but, I don't understand why "the degrees are stated with respect to the major scale..." I assumed that this thread is about diatonic scales. The sixth degree of A-natural-minor is F and why it is compared to the F# of the A-Major scale is beyond my noodle. I guess that I don't know why "the degrees are stated with respect to the major scale"; I assume, you are referring to A-Major which is a bit of a remote scale to A-natural-minor. Is there a name to the system of analysis that is being used here?
The problem is that the formular is stated with respect to the C-Major scale, then this is made into a c-minor scale and only there the b appear like in the formular.
I think the formular just shouldn't mix things up, but should better be based directly on a minor scale:
Thank you for the response and explanation. I still don't know why any minor scale should be based on a major scale that has the same tonic, namely, "C" in the case above. Minor scales are extensions of related major scales and they carry the same accidentals (where appropriate); added accidentals being included for harmonic and melodic minor scales, q.v. That's why I thought that the approach might be for a different type of scales. Anyway, thanks again.
That in fact is a good question.
If you construe that A (natural) minor scale is an extension of C major scale, that would help your understanding of the respective scale degrees in A minor scale. Our key signatures are taking advantage of this way of understanding, in a sense.
However, the concept of "key" in music refers only to the tonal center, while major/minor difference refers to "modes", i.e. major/minor modes in classical (ADD: and of course we say "major key" and "minor key", while these are not mistakes at all, the matter of fact is, those remarks only refer to the "mode" centered by the key in more strict technicality), and seven or more in jazz. So the modes are discussed with one single tonal center, instead of relativity of the various modes under one key sgnature. And the set benchmark is the major scale (or mode). Why? There are several reasons, of which I explain two most important ones below.
One thing that might help your understanding of the foregoing is; If you see and compare C major and C melodic minor scales, there is in fact only one note differentiating the two: major 3rd and minor 3rd.
In fact, there are several ways to explain why the major key has been set as the standard, including the one I selected for the most concise details I can give. You can explore further into this matter, but roughly, the conclusion is, the major scale is best facilitated for both melody and harmony.
If you have the 5th circle at hand and go around 5th down from B seven times, it will give you B, E, A, D, G, C, and F, which are all the constituents of C major scale. And this is how those notes are gravitated acoustically, ending up with F instead of C, because the motion of perfect 5th down is considered to be the strongest gravity in terms of the acoustics, as you see the 2nd overtone is the 5th of the acoustic root.
[ADD] This means that, if two notes, B and E for example, are played simultaneously or in a series, our ears will follow the law of acoustics and tend to assume, E may be more likely to be the root, because E is fifth down from B. (The gravity works regardless of any inversion or compound of the perfect 5th, so that the gravity kicks in as long as they are B and E.) So if a tune consists of B, E, A, D, G, C, and F and nothing else, being played in any order, our ears would try to follow this acoustic "gravity". As you see, we get down 5th from B to E, E to A...and likewise to F, and then find F cannot go any further down 5th, because there is no Bb included in the constituents. Then, F should be the very bottom (i.e. acoustic root of the group of 7 notes).
So if you follow the acoustic gravity, the key should be set to F, if the seven notes (B, E, A, D, G, C, and F) are played in a composition. This might be a complicated concept, but you will see what it means over a little longer duration of time thinking about it.
But that's not the case as we all know. It is referred instead to as C major with C as the "key".
This is because of the harmonic reason, being, the famous "tritone" between B and F resolving to C and E. Therefore, they found that, if the set of seven notes (B, E, A, D, G, C, and F) are presented, it is better to set C as the "key" for harmonic functionality purpose.
You can explore more about these things in some web resources.
I would also recommend to explore about "Tetracord", which can be considered to see why major mode is preferred to minor mode.
Anyways, thus C major key has been set as the standard, and all the other modes are compared to the C major scale. So for example, C natural minor is represented with 1, 2, b3, 4, 5, b6, and b7, while C Lydian is represented with 1, 2, 3, #4, 5, 6, and 7 and so on and so forth.
I hope this helps you.