Tradition has generally taught that there are three unique forms of the minor scale. However, this presents several problematic assumptions about how music works in the minor mode. As Paula Telesco has noted, “many students view minor-key music as having three distinct configurations, believing a composition or passage is written in one specific form of minor.”[^1] For music of the [[Common Practice Era]], there are only two modes: the major mode and the minor mode. Nevertheless, knowing the three forms of the minor scale still proves beneficial, especially to instrumentalists who frequently drill scale patterns found in their music. ## Natural Minor The **natural minor scale** can perhaps be considered the default version. Compared to a major scale starting on the same tonic, the natural minor contains the lowered scale degrees $\flat\hat{3}$, $\flat\hat{6}$, and $\flat\hat{7}$. > [!Important!] > Take note that the accidentals applied to the scale degree numbers are *relative*, meaning that if the original scale degree were sharp, the altered scale degree would be natural, not flat! (For example, $\hat{7}$ in E major would be D$\sharp$, whereas $\flat\hat{7}$ would be D$\natural$.) Also, take note that the arrangement of half steps and whole steps has changed. In the natural minor scale, the half steps lie between $\hat{2}$ and $\flat\hat{3}$ and between $\hat{5}$ and $\flat\hat{6}$. Furthermore, the corresponding solfège syllables have been inflected to account for the alterations: *mi* ⇒ *me*, *la* ⇒ *le*, and *ti* ⇒ *te*. **Example 1.** C natural minor scale. ![[minor scales example 1.png]] ![[minor scales example 1.mp3]] ### Scale-Degree Names in Minor The traditional scale-degree names remain the same in minor as in major with one exception: *te* ($\flat\hat{7}$) is known as the subtonic rather than the leading tone since it lacks the latter’s characteristic “leading” quality. See below for the table of scale-degree numbers, names, and solfège syllables for the natural minor scale. | Scale-Degree Number | Scale-Degree Name | Solfège | | ------------------- | ----------------- | ------- | | $\hat{1}$ | tonic | *do* | | $\hat{2}$ | supertonic | *re* | | $\flat\hat{3}$ | mediant | *me* | | $\hat{4}$ | subdominant | *fa* | | $\hat{5}$ | dominant | *sol* | | $\flat\hat{6}$ | submediant | *le* | | $\flat\hat{7}$ | subtonic | *te* ## Harmonic Minor The seventh scale-degree in the minor mode is frequently raised by a half step, returning it to the same position as in the major scale. Because this is done for harmonic reasons, this form of the minor scale has come to be known as the **harmonic minor scale**. The interval between $\flat\hat{6}$ and $\natural\hat{7}$ is known as an augmented second (A2), consisting of one and half steps. **Example 2.** C harmonic minor scale. ![[minor scales example 2.png]] ![[minor scales example 2.mp3]] ## Melodic Minor The gap between $\flat\hat{6}$ and $\natural\hat{7}$ of the harmonic minor scale can be evened out by raising $\flat\hat{6}$ to $\natural\hat{6}$. Since this is done to make the melodic line smoother, this form of the minor scale is known as the **melodic minor scale**. By convention, we typically notate the ascending portion of the melodic minor scale with $\natural\hat{6}$ and $\natural\hat{7}$ and the descending portion with $\flat\hat{6}$ and $\flat\hat{7}$. This is purely a convention and does not accurately reflect how music in the minor mode really works. >[!Important!] >It is incorrect to assume $\natural\hat{6}$ and $\natural\hat{7}$ must be used when a melodic passage in the minor mode is ascending. Likewise, just because a passage is descending does not require that $\flat\hat{6}$ and $\flat\hat{7}$ be used. More often than not, it is the underlying harmony that suggests which minor scale version will be used. **Example 3.** C melodic minor scale. ![[minor scales example 3.png]] ![[minor scales example 3.mp3]] [^1]: Paula Telesco, “Rethinking the Teaching of Minor Scales and Keys,” _Journal of Music Theory Pedagogy_ 15, no. 1 (2001): 70.