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In music theory, minor scale may refer to:* a heptatonic scale whose first, third, and fifth scale degrees form a minor triad,Prout, Ebenezer (1889). ''Harmony: Its Theory and Practice'', pg. 15, 74, London, Augener. that is, a seven-note scale in which the third note is a minor third (three semitones) above the first, and the fifth note is a perfect fifth (seven semitones) above the first. This includes (among others) the ''natural minor'', ''harmonic minor'', and ''melodic minor'' scales. A minor scale differs from a major scale in that the third degree in a major scale is a major third (four semitones) above the first degree. In other words, the third degree in a major scale is one semitone higher than in a minor scale.* the natural minor scale, also known as Aeolian scale, taken by itself. When a major scale and a natural minor scale have the same key signature, they are relative keys. A natural minor scale has the same notes as its relative major scale, but is built starting from the sixth note of the relative major scale.* the functional fusion of ''natural minor'', ''harmonic minor'', and ''melodic minor'' scales, as is used in Western classical music (''see'' major and minor). A harmonic minor scale differs from a natural minor scale in that the seventh note is raised one semitone. Melodic minor scales raise both the sixth and seventh notes one semitone when ascending, but when descending, the sixth and seventh notes are flattened, producing the natural minor scale.==Natural minor scale==Natural minor scale redirects directly here.-->The natural minor scale follows the sequence of steps:* W, H, W, W, H, W, W* W = Whole step* H = Half stepIn semitones, this is* two, one, two, two, one, two, two (2 1 2 2 1 2 2) (or T S T T S T T)If the white keys on the piano are played beginning on the sixth step of the C-major scale, which is A, to the A an octave above, then a natural minor scale is produced. In this case the minor scale is called A-minor, and this minor scale has no accidentals (sharps or flats). A-minor is called the relative minor of C. Every major key has a relative minor, which starts on the sixth scale degree or step.The natural minor scale can also be represented by the notation:* 1 2 3 4 5 6 7 8Each degree of the scale, starting with the tonic (the first, lowest note of the scale), is represented by a number. Their difference from the major scale is shown. Thus a number without a sharp or flat represents a major (or perfect) interval. A number with a flat represents a minor interval, and a number with a sharp (though there are none in this example) represents an augmented interval. In this example, the numbers mean: 1=unison, 2=major second, 3=minor third, 4=perfect fourth, 5=perfect fifth, 6=minor sixth, 7=minor seventh, 8=octave. So, the natural minor scale consists of: 1, the tonic, followed by 2, a note a major second above the tonic, 3, a note a minor third above the tonic, and so forth, up to 8, a note an octave above the tonic.In rock and popular music examples of songs in Minor Keys include The Moody Blues' "Nights in White Satin", Blondie's "Call Me", and Spinal Tap's "Lick My Love Pump".Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.39. ISBN 978-0-300-09239-4.== Harmonic minor scale ==Harmonic minor redirects here-->The notes of the harmonic minor scale are the same as the natural minor except that the seventh degree is raised by one semitone, making an augmented second between the sixth and seventh degrees. The seventh degree, in a similar way to major scales, becomes a leading tone to the tonic because it is now only a semitone lower than the tonic, in contrast to the seventh degree in natural minor scales, which are a whole tone lower than the tonic (subtonic). A harmonic minor scale follows the sequence of steps:* W, H, W, W, H, WH, H* W = Whole step* H = Half step* WH = Whole-and-a-half stepIn semitones, this is* two, one, two, two, one, three, one (2 1 2 2 1 3 1)This can also be notated as:* 1 2 3 4 5 6 7 8.The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A-minor, the V chord (the triad built on the note E) is normally a minor triad, which includes the seventh degree of the A-minor scale: G, as opposed to the raised seventh G, which would make a major triad in Harmonic Minor. Chords on degrees other than V may also include the raised seventh degree in minor keys, such as the diminished triad on VII itself (vii); and also the augmented triad on III (iii+), which is not found in any "natural" harmony (that is, harmony that is derived from harmonizing the seven western modes, which include "major" and "minor"). This augmented fifth chord (5 chord) played a part in the development of modern chromaticism.The inversions of an augmented triad introduce no intervals (allowing for enharmonic equivalents) that are absent from its root position. The first inversion is enharmonically equivalent to a new augmented triad in root position. For example, the triad E–G–B in first inversion is G–B–E, enharmonically equivalent to the augmented triad G–B–D. The same is true for the second inversion. One chord, with various spellings, may therefore have various harmonic functions in various keys, which introduces ambiguous tonality and opens the door to chromatic possibilities exploited by J. S. Bach, for example, and of course by many later composers. A similar analysis applies to the diminished seventh chord, founded on the diminished triad on VII in minor keys and ambiguous for the same reasons as the augmented triad.While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in Mozart, and notably in Schubert (for example, in movement 1 of String Quartet 14, "Death and the Maiden"). In this role it is used descending far more commonly than ascending.The harmonic minor is also occasionally referred to as the Mohammedan scale(United States Patent: 5386757 ) as its upper tetrachord corresponds to the Hijaz jins, commonly found in Middle Eastern music. The harmonic minor scale as a whole is called ''Nahawand-Hijaz''("Maqam Nihawand" ), ''Oud.Eclipse.co.uk''. in Arabic nomenclature, and as ''Bûselik Hicaz''("Buselik Makam" ), ''Oud.Eclipse.co.uk''. in Turkish nomenclature. And as an Indian raga it is called ''Kirwani''.The Hungarian minor scale is similar to the harmonic minor scale but with a raised fourth degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by jazz legend Miles Davis who describes it in his autobiography as "something that I'd learned at Juilliard".In popular music, examples of songs in harmonic minor include "Easy Please Me" by Katy B, which is a pop song, in rare instances, written in pure harmonic minor.
In music theory, minor scale may refer to:
* a heptatonic scale whose first, third, and fifth scale degrees form a minor triad,〔Prout, Ebenezer (1889). ''Harmony: Its Theory and Practice'', pg. 15, 74, London, Augener.〕 that is, a seven-note scale in which the third note is a minor third (three semitones) above the first, and the fifth note is a perfect fifth (seven semitones) above the first. This includes (among others) the ''natural minor'', ''harmonic minor'', and ''melodic minor'' scales. A minor scale differs from a major scale in that the third degree in a major scale is a major third (four semitones) above the first degree. In other words, the third degree in a major scale is one semitone higher than in a minor scale.
* the natural minor scale, also known as Aeolian scale, taken by itself. When a major scale and a natural minor scale have the same key signature, they are relative keys. A natural minor scale has the same notes as its relative major scale, but is built starting from the sixth note of the relative major scale.
* the functional fusion of ''natural minor'', ''harmonic minor'', and ''melodic minor'' scales, as is used in Western classical music (''see'' major and minor). A harmonic minor scale differs from a natural minor scale in that the seventh note is raised one semitone. Melodic minor scales raise both the sixth and seventh notes one semitone when ascending, but when descending, the sixth and seventh notes are flattened, producing the natural minor scale.
==Natural minor scale==
The natural minor scale follows the sequence of steps:
* W, H, W, W, H, W, W
* W = Whole step
* H = Half step
In semitones, this is
* two, one, two, two, one, two, two (2 1 2 2 1 2 2) (or T S T T S T T)
If the white keys on the piano are played beginning on the sixth step of the C-major scale, which is A, to the A an octave above, then a natural minor scale is produced. In this case the minor scale is called A-minor, and this minor scale has no accidentals (sharps or flats). A-minor is called the relative minor of C. Every major key has a relative minor, which starts on the sixth scale degree or step.
The natural minor scale can also be represented by the notation:
* 1 2 3 4 5 6 7 8
Each degree of the scale, starting with the tonic (the first, lowest note of the scale), is represented by a number. Their difference from the major scale is shown. Thus a number without a sharp or flat represents a major (or perfect) interval. A number with a flat represents a minor interval, and a number with a sharp (though there are none in this example) represents an augmented interval. In this example, the numbers mean: 1=unison, 2=major second, 3=minor third, 4=perfect fourth, 5=perfect fifth, 6=minor sixth, 7=minor seventh, 8=octave. So, the natural minor scale consists of: 1, the tonic, followed by 2, a note a major second above the tonic, 3, a note a minor third above the tonic, and so forth, up to 8, a note an octave above the tonic.
In rock and popular music examples of songs in Minor Keys include The Moody Blues' "Nights in White Satin", Blondie's "Call Me", and Spinal Tap's "Lick My Love Pump".〔Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.39. ISBN 978-0-300-09239-4.〕
== Harmonic minor scale ==
The notes of the harmonic minor scale are the same as the natural minor except that the seventh degree is raised by one semitone, making an augmented second between the sixth and seventh degrees. The seventh degree, in a similar way to major scales, becomes a leading tone to the tonic because it is now only a semitone lower than the tonic, in contrast to the seventh degree in natural minor scales, which are a whole tone lower than the tonic (subtonic). A harmonic minor scale follows the sequence of steps:
* W, H, W, W, H, WH, H
* W = Whole step
* H = Half step
* WH = Whole-and-a-half step
In semitones, this is
* two, one, two, two, one, three, one (2 1 2 2 1 3 1)
This can also be notated as:
* 1 2 3 4 5 6 7 8.
The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A-minor, the V chord (the triad built on the note E) is normally a minor triad, which includes the seventh degree of the A-minor scale: G, as opposed to the raised seventh G, which would make a major triad in Harmonic Minor.
Chords on degrees other than V may also include the raised seventh degree in minor keys, such as the diminished triad on VII itself (vii); and also the augmented triad on III (iii+), which is not found in any "natural" harmony (that is, harmony that is derived from harmonizing the seven western modes, which include "major" and "minor"). This augmented fifth chord (5 chord) played a part in the development of modern chromaticism.
The inversions of an augmented triad introduce no intervals (allowing for enharmonic equivalents) that are absent from its root position. The first inversion is enharmonically equivalent to a new augmented triad in root position. For example, the triad E–G–B in first inversion is G–B–E, enharmonically equivalent to the augmented triad G–B–D. The same is true for the second inversion. One chord, with various spellings, may therefore have various harmonic functions in various keys, which introduces ambiguous tonality and opens the door to chromatic possibilities exploited by J. S. Bach, for example, and of course by many later composers. A similar analysis applies to the diminished seventh chord, founded on the diminished triad on VII in minor keys and ambiguous for the same reasons as the augmented triad.
While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in Mozart, and notably in Schubert (for example, in movement 1 of String Quartet 14, "Death and the Maiden"). In this role it is used descending far more commonly than ascending.
The harmonic minor is also occasionally referred to as the Mohammedan scale〔(United States Patent: 5386757 )〕 as its upper tetrachord corresponds to the Hijaz jins, commonly found in Middle Eastern music. The harmonic minor scale as a whole is called ''Nahawand-Hijaz''〔("Maqam Nihawand" ), ''Oud.Eclipse.co.uk''.〕 in Arabic nomenclature, and as ''Bûselik Hicaz''〔("Buselik Makam" ), ''Oud.Eclipse.co.uk''.〕 in Turkish nomenclature. And as an Indian raga it is called ''Kirwani''.
The Hungarian minor scale is similar to the harmonic minor scale but with a raised fourth degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by jazz legend Miles Davis who describes it in his autobiography as "something that I'd learned at Juilliard".
In popular music, examples of songs in harmonic minor include "Easy Please Me" by Katy B, which is a pop song, in rare instances, written in pure harmonic minor.
抄文引用元・出典: フリー百科事典『 The notes of the harmonic minor scale are the same as the natural minor except that the seventh degree is raised by one semitone, making an augmented second between the sixth and seventh degrees. The seventh degree, in a similar way to major scales, becomes a leading tone to the tonic because it is now only a semitone lower than the tonic, in contrast to the seventh degree in natural minor scales, which are a whole tone lower than the tonic (subtonic). A harmonic minor scale follows the sequence of steps:* W, H, W, W, H, WH, H* W = Whole step* H = Half step* WH = Whole-and-a-half stepIn semitones, this is* two, one, two, two, one, three, one (2 1 2 2 1 3 1)This can also be notated as:* 1 2 3 4 5 6 7 8.The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A-minor, the V chord (the triad built on the note E) is normally a minor triad, which includes the seventh degree of the A-minor scale: G, as opposed to the raised seventh G, which would make a major triad in Harmonic Minor. Chords on degrees other than V may also include the raised seventh degree in minor keys, such as the diminished triad on VII itself (vii); and also the augmented triad on III (iii+), which is not found in any "natural" harmony (that is, harmony that is derived from harmonizing the seven western modes, which include "major" and "minor"). This augmented fifth chord (5 chord) played a part in the development of modern chromaticism.The inversions of an augmented triad introduce no intervals (allowing for enharmonic equivalents) that are absent from its root position. The first inversion is enharmonically equivalent to a new augmented triad in root position. For example, the triad E–G–B in first inversion is G–B–E, enharmonically equivalent to the augmented triad G–B–D. The same is true for the second inversion. One chord, with various spellings, may therefore have various harmonic functions in various keys, which introduces ambiguous tonality and opens the door to chromatic possibilities exploited by J. S. Bach, for example, and of course by many later composers. A similar analysis applies to the diminished seventh chord, founded on the diminished triad on VII in minor keys and ambiguous for the same reasons as the augmented triad.While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in Mozart, and notably in Schubert (for example, in movement 1 of String Quartet 14, "Death and the Maiden"). In this role it is used descending far more commonly than ascending.The harmonic minor is also occasionally referred to as the Mohammedan scale(United States Patent: 5386757 ) as its upper tetrachord corresponds to the Hijaz jins, commonly found in Middle Eastern music. The harmonic minor scale as a whole is called ''Nahawand-Hijaz''("Maqam Nihawand" ), ''Oud.Eclipse.co.uk''. in Arabic nomenclature, and as ''Bûselik Hicaz''("Buselik Makam" ), ''Oud.Eclipse.co.uk''. in Turkish nomenclature. And as an Indian raga it is called ''Kirwani''.The Hungarian minor scale is similar to the harmonic minor scale but with a raised fourth degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by jazz legend Miles Davis who describes it in his autobiography as "something that I'd learned at Juilliard".In popular music, examples of songs in harmonic minor include "Easy Please Me" by Katy B, which is a pop song, in rare instances, written in pure harmonic minor.">ウィキペディア（Wikipedia）』
■The notes of the harmonic minor scale are the same as the natural minor except that the seventh degree is raised by one semitone, making an augmented second between the sixth and seventh degrees. The seventh degree, in a similar way to major scales, becomes a leading tone to the tonic because it is now only a semitone lower than the tonic, in contrast to the seventh degree in natural minor scales, which are a whole tone lower than the tonic (subtonic). A harmonic minor scale follows the sequence of steps:* W, H, W, W, H, WH, H* W = Whole step* H = Half step* WH = Whole-and-a-half stepIn semitones, this is* two, one, two, two, one, three, one (2 1 2 2 1 3 1)This can also be notated as:* 1 2 3 4 5 6 7 8.The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A-minor, the V chord (the triad built on the note E) is normally a minor triad, which includes the seventh degree of the A-minor scale: G, as opposed to the raised seventh G, which would make a major triad in Harmonic Minor. Chords on degrees other than V may also include the raised seventh degree in minor keys, such as the diminished triad on VII itself (vii); and also the augmented triad on III (iii+), which is not found in any "natural" harmony (that is, harmony that is derived from harmonizing the seven western modes, which include "major" and "minor"). This augmented fifth chord (5 chord) played a part in the development of modern chromaticism.The inversions of an augmented triad introduce no intervals (allowing for enharmonic equivalents) that are absent from its root position. The first inversion is enharmonically equivalent to a new augmented triad in root position. For example, the triad E–G–B in first inversion is G–B–E, enharmonically equivalent to the augmented triad G–B–D. The same is true for the second inversion. One chord, with various spellings, may therefore have various harmonic functions in various keys, which introduces ambiguous tonality and opens the door to chromatic possibilities exploited by J. S. Bach, for example, and of course by many later composers. A similar analysis applies to the diminished seventh chord, founded on the diminished triad on VII in minor keys and ambiguous for the same reasons as the augmented triad.While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in Mozart, and notably in Schubert (for example, in movement 1 of String Quartet 14, "Death and the Maiden"). In this role it is used descending far more commonly than ascending.The harmonic minor is also occasionally referred to as the Mohammedan scale(United States Patent: 5386757 ) as its upper tetrachord corresponds to the Hijaz jins, commonly found in Middle Eastern music. The harmonic minor scale as a whole is called ''Nahawand-Hijaz''("Maqam Nihawand" ), ''Oud.Eclipse.co.uk''. in Arabic nomenclature, and as ''Bûselik Hicaz''("Buselik Makam" ), ''Oud.Eclipse.co.uk''. in Turkish nomenclature. And as an Indian raga it is called ''Kirwani''.The Hungarian minor scale is similar to the harmonic minor scale but with a raised fourth degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by jazz legend Miles Davis who describes it in his autobiography as "something that I'd learned at Juilliard".In popular music, examples of songs in harmonic minor include "Easy Please Me" by Katy B, which is a pop song, in rare instances, written in pure harmonic minor.">ウィキペディアで「In music theory, minor scale may refer to:* a heptatonic scale whose first, third, and fifth scale degrees form a minor triad,Prout, Ebenezer (1889). ''Harmony: Its Theory and Practice'', pg. 15, 74, London, Augener. that is, a seven-note scale in which the third note is a minor third (three semitones) above the first, and the fifth note is a perfect fifth (seven semitones) above the first. This includes (among others) the ''natural minor'', ''harmonic minor'', and ''melodic minor'' scales. A minor scale differs from a major scale in that the third degree in a major scale is a major third (four semitones) above the first degree. In other words, the third degree in a major scale is one semitone higher than in a minor scale.* the natural minor scale, also known as Aeolian scale, taken by itself. When a major scale and a natural minor scale have the same key signature, they are relative keys. A natural minor scale has the same notes as its relative major scale, but is built starting from the sixth note of the relative major scale.* the functional fusion of ''natural minor'', ''harmonic minor'', and ''melodic minor'' scales, as is used in Western classical music (''see'' major and minor). A harmonic minor scale differs from a natural minor scale in that the seventh note is raised one semitone. Melodic minor scales raise both the sixth and seventh notes one semitone when ascending, but when descending, the sixth and seventh notes are flattened, producing the natural minor scale.==Natural minor scale==Natural minor scale redirects directly here.-->The natural minor scale follows the sequence of steps:* W, H, W, W, H, W, W* W = Whole step* H = Half stepIn semitones, this is* two, one, two, two, one, two, two (2 1 2 2 1 2 2) (or T S T T S T T)If the white keys on the piano are played beginning on the sixth step of the C-major scale, which is A, to the A an octave above, then a natural minor scale is produced. In this case the minor scale is called A-minor, and this minor scale has no accidentals (sharps or flats). A-minor is called the relative minor of C. Every major key has a relative minor, which starts on the sixth scale degree or step.The natural minor scale can also be represented by the notation:* 1 2 3 4 5 6 7 8Each degree of the scale, starting with the tonic (the first, lowest note of the scale), is represented by a number. Their difference from the major scale is shown. Thus a number without a sharp or flat represents a major (or perfect) interval. A number with a flat represents a minor interval, and a number with a sharp (though there are none in this example) represents an augmented interval. In this example, the numbers mean: 1=unison, 2=major second, 3=minor third, 4=perfect fourth, 5=perfect fifth, 6=minor sixth, 7=minor seventh, 8=octave. So, the natural minor scale consists of: 1, the tonic, followed by 2, a note a major second above the tonic, 3, a note a minor third above the tonic, and so forth, up to 8, a note an octave above the tonic.In rock and popular music examples of songs in Minor Keys include The Moody Blues' "Nights in White Satin", Blondie's "Call Me", and Spinal Tap's "Lick My Love Pump".Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.39. ISBN 978-0-300-09239-4.== Harmonic minor scale ==Harmonic minor redirects here-->The notes of the harmonic minor scale are the same as the natural minor except that the seventh degree is raised by one semitone, making an augmented second between the sixth and seventh degrees. The seventh degree, in a similar way to major scales, becomes a leading tone to the tonic because it is now only a semitone lower than the tonic, in contrast to the seventh degree in natural minor scales, which are a whole tone lower than the tonic (subtonic). A harmonic minor scale follows the sequence of steps:* W, H, W, W, H, WH, H* W = Whole step* H = Half step* WH = Whole-and-a-half stepIn semitones, this is* two, one, two, two, one, three, one (2 1 2 2 1 3 1)This can also be notated as:* 1 2 3 4 5 6 7 8.The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A-minor, the V chord (the triad built on the note E) is normally a minor triad, which includes the seventh degree of the A-minor scale: G, as opposed to the raised seventh G, which would make a major triad in Harmonic Minor. Chords on degrees other than V may also include the raised seventh degree in minor keys, such as the diminished triad on VII itself (vii); and also the augmented triad on III (iii+), which is not found in any "natural" harmony (that is, harmony that is derived from harmonizing the seven western modes, which include "major" and "minor"). This augmented fifth chord (5 chord) played a part in the development of modern chromaticism.The inversions of an augmented triad introduce no intervals (allowing for enharmonic equivalents) that are absent from its root position. The first inversion is enharmonically equivalent to a new augmented triad in root position. For example, the triad E–G–B in first inversion is G–B–E, enharmonically equivalent to the augmented triad G–B–D. The same is true for the second inversion. One chord, with various spellings, may therefore have various harmonic functions in various keys, which introduces ambiguous tonality and opens the door to chromatic possibilities exploited by J. S. Bach, for example, and of course by many later composers. A similar analysis applies to the diminished seventh chord, founded on the diminished triad on VII in minor keys and ambiguous for the same reasons as the augmented triad.While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in Mozart, and notably in Schubert (for example, in movement 1 of String Quartet 14, "Death and the Maiden"). In this role it is used descending far more commonly than ascending.The harmonic minor is also occasionally referred to as the Mohammedan scale(United States Patent: 5386757 ) as its upper tetrachord corresponds to the Hijaz jins, commonly found in Middle Eastern music. The harmonic minor scale as a whole is called ''Nahawand-Hijaz''("Maqam Nihawand" ), ''Oud.Eclipse.co.uk''. in Arabic nomenclature, and as ''Bûselik Hicaz''("Buselik Makam" ), ''Oud.Eclipse.co.uk''. in Turkish nomenclature. And as an Indian raga it is called ''Kirwani''.The Hungarian minor scale is similar to the harmonic minor scale but with a raised fourth degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by jazz legend Miles Davis who describes it in his autobiography as "something that I'd learned at Juilliard".In popular music, examples of songs in harmonic minor include "Easy Please Me" by Katy B, which is a pop song, in rare instances, written in pure harmonic minor.」の詳細全文を読む
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