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<h1>Minor Scales</h1>
<p>There are three forms of the minor scale: natural minor (Aeolian), harmonic minor (raised 7th), and melodic minor (raised 6th and 7th ascending). Each serves a different harmonic purpose and sounds different. Most minor key music uses all three in combination, and understanding which form fits which context is the core of minor key harmony. Jazz melodic minor deserves its own section — it's a fundamentally different beast from its classical namesake.</p>

<h2>Natural Minor (Aeolian Mode)</h2>
<pre>
A natural minor: A B C D E F G A
Formula: W — H — W — W — H — W — W
Degrees: 1   2  ♭3  4   5  ♭6  ♭7
</pre>
<p>The natural minor is just the major scale starting from its 6th degree. A natural minor uses the same notes as C major. Its V chord is a minor chord (Em7 in A minor) — it has less pull toward the tonic than a dominant seventh. This is the default minor sound: dark but not dramatic, commonly used in rock, folk, and modal jazz.</p>

<h2>Diatonic Chords of Natural Minor</h2>

<table>
  <thead><tr><th>Degree</th><th>Chord (A minor)</th><th>Quality</th><th>Function</th></tr></thead>
  <tbody>
    <tr><td>i</td><td>Am7</td><td>Minor 7th</td><td>Tonic</td></tr>
    <tr><td>ii°</td><td>Bm7♭5</td><td>Half-diminished</td><td>Pre-dominant</td></tr>
    <tr><td>♭III</td><td>Cmaj7</td><td>Major 7th</td><td>Relative major's tonic</td></tr>
    <tr><td>iv</td><td>Dm7</td><td>Minor 7th</td><td>Subdominant</td></tr>
    <tr><td>v</td><td>Em7</td><td>Minor 7th</td><td>Weak dominant (no leading tone)</td></tr>
    <tr><td>♭VI</td><td>Fmaj7</td><td>Major 7th</td><td>Subtonic — often strong</td></tr>
    <tr><td>♭VII</td><td>G7</td><td>Dominant 7th</td><td>Subtonic dominant — strong in rock</td></tr>
  </tbody>
</table>

<h2>Harmonic Minor</h2>
<pre>
A harmonic minor: A B C D E F G# A
Formula: W — H — W — W — H — A2 — H
Degrees: 1   2  ♭3  4   5  ♭6   7

A2 = augmented second (3 semitones) between ♭6 and 7
</pre>
<p>Raising the 7th creates G# — the leading tone — which pulls strongly up to the tonic A. It also turns the V chord from Em7 (minor) to E7 (dominant seventh), giving the classic tonal cadence in minor key music. The augmented second between F and G# (or ♭6 to maj7) is the distinctive sound — it gives harmonic minor its exotic, dramatic quality.</p>

<table>
  <thead><tr><th>Compared to natural minor</th><th>Result</th></tr></thead>
  <tbody>
    <tr><td>V chord: Em7 → E7</td><td>Dominant function restored — strong pull to tonic</td></tr>
    <tr><td>Leading tone: G → G#</td><td>Half step below tonic — the strongest possible approach</td></tr>
    <tr><td>♭6 to 7: F to G#</td><td>Augmented second — the characteristic "eastern" sound</td></tr>
    <tr><td>vii° chord: becomes fully diminished</td><td>Gdim7 — another strong dominant function chord</td></tr>
  </tbody>
</table>

<h2>Melodic Minor (Classical)</h2>
<pre>
A melodic minor:
  Ascending: A B C D E F# G# A   (raise ♭6 and ♭7)
  Descending: A G F E D C B A    (same as natural minor)
</pre>
<p>The classical melodic minor resolves the awkward augmented second of harmonic minor by also raising the 6th. Ascending, the scale sounds smooth and singable. Descending, the raised notes aren't needed (no upward leading tone required), so it reverts to natural minor. This ascending/descending asymmetry is a classical rule that jazz ignores entirely.</p>

<h2>Melodic Minor (Jazz Form)</h2>
<pre>
A melodic minor (jazz): A B C D E F# G# A  (same both directions)
Formula: W — H — W — W — W — W — H
Degrees: 1   2  ♭3  4   5   6   7
</pre>
<p>Jazz treats the melodic minor as a fully independent scale with seven distinct modes, each with its own harmonic character. The jazz melodic minor — also called the "jazz minor" — is a major scale with a lowered third. Its modes produce some of the most important sounds in jazz harmony:</p>

<table>
  <thead><tr><th>Mode of melodic minor</th><th>Common name</th><th>Used over</th></tr></thead>
  <tbody>
    <tr><td>1st (I)</td><td>Jazz melodic minor</td><td>Im(maj7), ImMaj9</td></tr>
    <tr><td>2nd</td><td>Dorian ♭2 (Phrygian ♮6)</td><td>sus♭9 chords</td></tr>
    <tr><td>3rd</td><td>Lydian Augmented</td><td>maj7#5 chords</td></tr>
    <tr><td>4th</td><td>Lydian Dominant</td><td>7#11 chords (tritone sub dominant)</td></tr>
    <tr><td>5th</td><td>Mixolydian ♭6</td><td>7♭13 chords</td></tr>
    <tr><td>6th</td><td>Locrian ♮2 (Half-diminished)</td><td>m7♭5 chords</td></tr>
    <tr><td>7th</td><td>Altered scale (Super Locrian)</td><td>7alt chords — all altered extensions</td></tr>
  </tbody>
</table>

<h2>Choosing Which Minor Scale</h2>

<table>
  <thead><tr><th>Situation</th><th>Scale choice</th><th>Why</th></tr></thead>
  <tbody>
    <tr><td>Minor tonic chord (Im7) in jazz</td><td>Dorian or jazz melodic minor</td><td>Dorian (raised 6th) is brighter; melodic minor gives major 7th sound</td></tr>
    <tr><td>Minor tonic in rock/metal</td><td>Natural minor (Aeolian)</td><td>Darker, raw quality; ♭7 chord is strong in rock</td></tr>
    <tr><td>V7 in a minor key cadence</td><td>Harmonic minor or altered scale</td><td>Need the leading tone (raised 7th) for strong cadence</td></tr>
    <tr><td>Running scalar passages in classical</td><td>Melodic minor ascending, natural descending</td><td>Smooth voice leading in both directions</td></tr>
    <tr><td>Exotic, dramatic quality</td><td>Harmonic minor</td><td>The augmented 2nd is the characteristic "eastern" sound</td></tr>
    <tr><td>Fast runs in gypsy/flamenco style</td><td>Phrygian dominant or harmonic minor</td><td>The characteristic half-step approach from ♭2</td></tr>
  </tbody>
</table>

<h2>References</h2>
<ul>
  <li>Levine — <em>The Jazz Theory Book</em></li>
  <li>Aldwell &amp; Schachter — <em>Harmony and Voice Leading</em></li>
  <li><a href="https://www.musictheory.net/lessons/24" target="_blank" rel="noopener">musictheory.net — Minor Scales ↗</a></li>
</ul>
