Well there is a little confusion going on.VasquezBob wrote: ↑Wed Sep 11, 2019 9:12 pmTonit wrote: ↑Wed Sep 11, 2019 12:22 amThat in fact is a good question.VasquezBob wrote: ↑Tue Sep 10, 2019 11:32 pm
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.
There appears to be more than one path to get at the answer. To address the question of where do all the flats (b's) come from, one just needs to go from "C minor" to its relative major which is "E" but, which E? The E major on the sharp side or the flat side of the signature chart? Well, if E is the tonic and F is the supertonic, then, E must be flat; if we are to apply the whole tone, whole tone, half tone to the upper and lower tetrachords. Now, one can either look-up Eb major or write it out and one will find that "E, A, and B" are flat and that's from where all the flats descend (pardon the play on words). Just an aside: sometimes it's easier to "see" the answer when one applies the musical alphabet rather than using Roman numerals, q.v., but, to each his/her own.
No, supertonics can be 1/2 step above the tonic, like Phrygian or Locrian supertonics.if E is the tonic and F is the supertonic, then, E must be flat, if we are to apply the whole tone, whole tone, half tone to the upper and lower tetrachords.
But I suppose you are talking about Eb major scale. But here you mixed up the "tetracord" idea I noted.
It is not for this purpose I introduced it to you.
I might have explaiend, but what you should look at is "conjuncture" and "disjuncture" natures of major and minor modes when you see the both upper/lower tetrahords of maj/min are balanced up.
And like I have noted, it is for the convenience purpose that one same key signature for a major and its relative minor is used, and except that we may have the "relative" key relation in case of actual transposition from a major to its relative minor or vice versa in a composition, there is no relation being sugested by one key signature.
Also, what you should not be confused is that, the sharps and flats used for "scale degrees" only apply when we discuss the scale degrees, and not applied when we discuss about the diatonic chords in classical theory, because, as per noted, we do not have to specify if "modal interchange" (or "borrowed chord") is not involved. Accordingly, you DO have to apply sharp(s) and flat(s) to roman numerals in case of Jazz analysis as Jazz involves many "modal interchange" chords.