Minor Scales, Their Chords and Progressions.

J.Brent©2003

1. The Minor Scales

This lesson deals with the following 4 minor scales (or modes, if you prefer): Dorian, Aeolian, Harmonic Minor, and Melodic Ascending Minor (from this point on the "Melodic Ascending Minor" will be referred to as "Melodic Minor").

The Dorian mode is composed of two minor tetrachords stacked on top of one another. In ancient Greece, the Dorian tonality was the most popular.

The Aeolian mode is composed of a minor tetrachord on the bottom and a phrygian tetrachord on the top. The Aeolian is also known as the "natural minor".

The Harmonic Minor has a minor tetrachord on the bottom, and a harmonic tetrachord on the top.

The Harmonic Minor has an exotic sound due to the m3 interval between its 6th and 7th degrees. This is one of the principal scales used in Arabic, Gypsy and Spanish musics.

The Melodic Minor has a minor tetrachord on the bottom, and a major tetrachord on the top.

You'll note that every one of the above scales has in common the minor tetrachord on the bottom. In fact the bottom FIVE notes are the same in all of them.

2. Natural Minor Modes vs. Artificial Minor Scales

The "natural minor modes" here are the Dorian and Aeolian. They are termed "natural" because they can be constructed beginning from the 2nd (Dorian) and 6th (Aeolian) degrees of the major scale.

The Dorian has the minor pentachord on the bottom, its 6th is a major 6th interval from the root and the 7th is a minor 7th interval from the root.

The Aeolian differs from the Dorian in only one respect - it has a lowered 6th (hereafter referred to as "b6").

Note that the 7th degree of EITHER natural minor mode is a minor 7th interval from the root (hereafter referred to as "b7"). That is to say that a b7 is the normal 7th for natural minor modes.

The "Artificial Minor Scales" differ very little from the "Natural Minor Modes". One feature both artificial scales have in common is the raised 7th (hereafter referred to as "#7". This symbol is used to indicate that the 7th degree is RAISED one half-step above the normal b7 which occurs in the natural minor modes. It does NOT equal an octave.)

The Harmonic Minor differs from the Aeolian in only one respect - it has a raised 7th.

The Melodic Minor differs from the Harmonic Minor in only one respect - it has a maj6 instead of a lowered 6 (b6).

The Dorian differs from the Melodic Minor in only one respect - it has the b7 instead of a raised 7th.

Comparison of Minor Scales Table

3. Interchangeability

In Classical music, the Melodic Minor is defined differently than in Jazz. In Classical music the Melodic Minor Ascending is used when ascending and the Aeolian (also called "Melodic Minor Descending") is used when descending.

In the above scenario, we are actually using two scales to improvise over the chord changes (as opposed to typically only one scale when improvising horizontally).

Taking this one step further, we become aware that we can choose (relatively freely) which type of 6ths and which type of 7ths we want to use (depending on the sound we're going for).

Combining the four above scales yields the minor pentachord on the bottom and all the chromatics between the 5th and the octave. In other words - a Nine-Note Scale!

The chordal analysis below constructs chords off of each of these nine scale degrees.

I did not construct any chords from the #4/b5 degree, but it is very common to use this tone when improvising as:

a) a leading tone into the 5th,

b) a Blue note,

c) a very interesting passing tone.

That gives us a 10-note scale that we can use to improvise over minor chords and minor progressions! We only avoid the b2 (which would put us into Phrygian) and the maj3 (which would put us into major).

Here's a midi audio of me playing a distillation of Bud Powell's "Tempus Fugit"
to illustrate how the "10-tone minor scale" can be played over a minor progression.
Time Flies (midi)

Here's a studio recorded MP3 of me playing essentially the same version of "Tempus Fugit" with my jazz piano combo "Trio7" (Mark Lyons - Bass, Andy Vermiglio - Drums)
Time Flies (mp3)

Pay special attention to the chromatics in the RH lines
between theVth and the octave root!

4. Natural Minor Mode Harmony
vs.
Borrowed Parallel Major Harmony

In true pure modal tonal centers, the chords tend to be triads or at most 7th chords. The harmonic sequences are generally simple and repetitive.

The function of the "dominant chord" (the second most important chord in the key) is to propel you into the Tonic. In major harmony, the chord with the most forceful resolution to the tonic is built off the fifth degree of the scale ("dominant V").

In the case of the Dorian and Aeolian modal harmony, the dominating cadential chord is built respectively off the 4th and b7th degrees.

Many folk musics use pure Dorian or pure Aeolian progressions for their minor songs.

The Harmonic Minor was invented to provide a leading tone in order to give a stronger cadence than either the dorian IV->i or aeolian bVII->i movements yield (via "borrowed parallel major harmony").

Often entire sections of a tune will use Aeolian and the only time the Harmonic Minor comes into play is whenever a "dominant V chord" resolution is needed.

Hence the term "Harmonic" minor - it is an "artificial" creation designed to aid the harmonic accompaniment.

The Harmonic Minor scale leaves some folks uneasy with the "big jump" between the b6 and the #7. The Melodic Minor was invented to smooth over the jump and be "more melodic". Hence the term "Melodic Minor".

You'll note that the only difference between the Melodic Minor and its parallel Major scale is that the Melodic Minor has a b3.

Since Jazz generally deals more with "borrowed parallel major harmony" than pure modal harmony, the tables below reflect circle-based tonal gravity.

5. The Broken Circle

While Major Harmony resolves itself nicely around the circle of 4ths, minor circles have a little "kink" in them.

In addition, depending on which minor scale we have chosen to base our composition on, there can be several options.

The following table illustrates the tonal gravity root movement inherent in minor chord progressions (gravitating towards the tonic minor at the bottom of the table):

Circular Minor Chord Sequences Table

As you can see, a neat circular sequence is not possible. Note, however, that the bIII and VI are tritone substitutes for one another, as are the bVI and II chords.

For the dominant function, it's possible to use chords built off the fifth degree OR chords built off the raised 7th degree.

For an example of how the above table can be used to construct a tune, one need only compare the root movement in the first section of "Autumn Leaves" to the table above:

| IV | bVII | bIII | bVI |

| II | V    | I    | I   |

6. Chord Tables

These tables are arranged in the order of the "Circular Minor Chord Sequences Table" above.

In theory, a chord built off any scale degree will lead to any other chord in the next chord family that is a fourth above the previous chord and so on. (In reality, though, you'll have to use good taste.)

With the interchangeability of the different chords built off each degree, the theoretical possibility of 302,400 chord combinations exists. Plenty enough to satisfy the most creative mind.

(Explanation of symbols used in the tables:
"ivD" indicates that this chord is built off the fourth degree of the Dorian.
"A" indicates "Aeolian", "H" = "Harmonic", "M" = "Melodic")

Chords Built off the Fourth Degrees

Table 4.3: Triads built off the fourth degrees

Table 4.4: Four-note chords built off the fourth degrees

Table 4.5: Five-note chords built off the fourth degrees

Chords Built off the Flat Seventh Degrees

Table b7.3: Triads built off the b7 degrees

Table b7.4: Four-note chords built off the b7 degrees

Table b7.5: Five-note chords built off the b7 degrees

Chords Built off the Flat Third Degrees

Table b3.3: Triads built off the b3 degrees

Table b3.4: Four-note chords built off the b3 degrees

Table b3.5: Five-note chords built off the b3 degrees

Chords Built off the Sixth Degrees

Table 6.3: Triads built off the 6th degrees

Table 6.4: Four-note chords built off the 6th degrees

Table 6.5: Five-note chords built off the 6th degrees

Chords Built off the Lowered Sixth Degrees

Table b6.3: Triads built off the b6 degrees

Table b6.4: Four-note chords built off the b6 degrees

Table b6.5: Five-note chords built off the b6 degrees

Chords Built off the Second Degrees

Table 2.3: Triads built off the 2nd degrees

Table 2.4: Four-note chords built off the 2nd degrees

Table 2.5: Five-note chords built off the 2nd degrees

Chords Built off the Fifth Degrees

Table 5.3: Triads built off the 5th degrees

Table 5.4: Four-note chords built off the 5th degrees

Table 5.5: Five-note chords built off the 5th degrees

Chords Built off the Raised Seventh Degrees

Table #7.3: Triads built off the #7 degrees

Table #7.4: Four-note chords built off the #7 degrees

Table #7.5: Five-note chords built off the #7 degrees

Chords Built off the First Degrees

Table 1.3: Triads built off the 1st degrees

Table 1.4: Four-note chords built off the 1st degrees

Table 1.5: Five-note chords built off the 1st degrees

The following set of tables lists each chord type, the scale and scale degree the chord was derived from

It also strongly implies that a plausible scale choice for improvising over said chord would be the scale it was derived from.

Example:

The above table indicates that an Augmented triad can be built off:

the #7th degree of the Harmonic Minor scale,

the #7th degree of the Melodic Minor scale,

the b3rd degree of the Harmonic Minor scale,

the b3rd degree of the Melodic Minor Scale,

the 5th degree of the Harmonic Minor scale,

the 5th degree of the Melodic Minor scale.

An Augmented triad built off the #7th degree of either the Harmonic Minor scale or Melodic Minor scale in the key of A minor would be "G#+".

In the key of A minor, the scale built off the #7th degree of the Harmonic Minor scale is:
G# A B C D E F G#

In the key of A minor, the scale built off the #7th degree of the Melodic Minor is:
G# A B C D E F# G#

An Augmented triad built off the b3rd degree of either the Harmonic Minor scale or Melodic Minor scale in the key of A minor would be "C+".

In the key of A minor, the scale built off the b3rd degree of the Harmonic Minor scale is:
C D E F G# A B C

In the key of A minor, the scale built off the b3rd degree of the Melodic Minor scale is:
C D E F# G# A B C

An Augmented triad built off the 5th degree of either the Harmonic Minor scale or Melodic Minor scale in the key of A minor would be "E+".

In the key of A minor, the scale built off the 5th degree of the Harmonic Minor scale is:
E F G# A B C D E

In the key of A minor, the scale built off the 5th degree of the Melodic Minor is:
E F# G# A B C D E

(Note: Scales built off the various degrees of the Dorian and Aeolian modes have specific and commonly accepted names. Scales built off the various degrees of the Harmonic Minor and Melodic Minor scales do not all have names, and many of the names are either not commonly accepted or understood by all. Therefore, I have opted to simply assign degrees and root scale names to ALL of them for the sake of consistency and in order to avoid confusion.)

Triads Table

4-Note Chords Table

5-Note Chords Table

Tetrachords can be thought of as "half-scales". "Tetra" means "four". A tetrachord is commonly considered to be "four consecutive notes".

An example of a minor tetrachord is this collection of adjacent musical notes:
A B C D

The tetrachords used in this lesson include:

Major Tetrachord = R-W-W-H

Minor Tetrachord = R-W-H-W

Phrygian Tetrachord = R-H-W-W

Harmonic Tetrachord = R-H-m3-H

Other tetrachords exist, but are not used in this lesson. So I have not included them.