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MikewillShred
12-24-2002, 12:26 AM
I was recently looking over some material and I have been confused once more. I am under the impression that if a Major scale scale formula is I ii iii IV V vi vii, minor scale would be
vi vii I ii iii IV V. Is this correct or should it be written i ii III iv v VI VII. I understand that the natural minor starts with the sixth degree of a major scale.

The actual question is that this material states the the V7 of A minor is E7. But in the minor mode the V chord is minor. Can some one help?

metallibeast
12-24-2002, 01:53 AM
Hi, what's up?

Maj triad chord formula should be

I ii iii IV V vi viio

Min triad chord formula should be

i iio III iv v VI VIII

Uppercase means maj
lowercase means min
lowercase with o is dim

Are you looking at a progression like the one below?

|A7 / / /|/ / / /|/ / / /|/ / / /|
|D7/ / / |/ / / /|A7 / / /|/ / / /|
|E7/ / / |D7/ / /|A7/ / /|E7/ / /|

-Beast

szulc
12-24-2002, 02:36 AM
This has recently been disscussed, see this thread:
http://www.ibreathemusic.com/forums/showthread.php?s=&threadid=491&highlight=harmonic

the1andonly
01-03-2003, 03:42 AM
it comes from the harmonic and melodic minor modes.

back in classical music, the minor scale ascending was played 1-2-b3-4-5-6-7 (the melodic minor scale) and descending b7-b6-5-4-b3-2-1(the regular minor scale) now by breaking both of these two down you get two sets of chords:

regular minor: i-iio-bIII-iv-v-bVI-bVII
melodic minor: i-ii-bIII+-IV-V-vio-viio

(note: for practical purposes of imporvising, susually you can use one shape both ascending and descending, depending on which chord you're soloing over, and the ascending descending rule is just used for writing chord progressions)
in classical theory, you can use any of the chords as long as two adjectant chords don't share an altered note. for example, if you wrote A minor ascending and descending, you'd get this

A B C D E F# G# A G F E D C B A

you'll notice the F-F# and G-G# changes. these are the altered tones. if you play a chord with an F note, don't fallow or precede it with a chord with an F#. same rule applies for G and G#.

for the most part this is ignored in today's music, but occasianly the V from melodic minor pops up to be used in a perfect cadence(V-i or ii-V-i) movement. so when this kind of progression comes up, I prefer the Melodic Minor scale to deal with it. the Harmonic Minor and Neopolitan scales are also acceptible.