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Makeup of Major and Minor Scales

The document discusses the makeup of major and minor scales, including their relative relationships and the three forms of minor scales. It also provides information on key signatures for major and minor keys.

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0% found this document useful (0 votes)
38 views3 pages

Makeup of Major and Minor Scales

The document discusses the makeup of major and minor scales, including their relative relationships and the three forms of minor scales. It also provides information on key signatures for major and minor keys.

Uploaded by

composerg
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
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CIRCLE OF FIFTHS

Makeup of Major and Minor Scales


Every major scale has a relative minor, which has the exact same key signature, but
starts three, 1/2 steps below the tonic in the major. Minor scales have three forms:
1. Natural: Exact same notes as the relative major, without any chromatic alteration;
2. Melodic: Raised 6th and 7th step in the ascending form; the descending form is like the
natural;
3. Harmonic: Raised leading tone (both ascending and descending), which causes a step-and-ahalf interval between the 6th and 7th steps.

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Note also that works are not in "melodic minor" or "harmonic minor" keys; rather, composers
sprinkle these configurations throughout the work.
Key Areas (Major)
C
G
D
A
E
B
F#
C#
F
B flat
E flat
A flat
D flat
G flat
C flat

Key Areas (Minor)


a
e
b
F#
c#
g#
d#
a#
d
g
c
f
b flat
e flat
a flat

Parallel keys are a different thing altogether; what makes them parallel is that the scale starts
on the same note - but the key signatures are different. For example:
C Major (no sharps or flat) / c minor (three flats)
G Major (one sharp) / g minor (two flats)
D Major (two sharps) / d minor (one flat)..etc.
So the question really is, if an audition is asking for a "Parallel melodic minor scale" -- parallel
to what Major key? You will need to find that out, and then play a scale on that same tonic note
but with the melodic minor construction -- which of course is a raised 6th and 7th step in the
ascending form, and the "natural" form in the descending.
Supposing that the auditioner wants a melodic minor scale parallel to the A Major; then you
would play a melodic minor scale starting on the pitch "A," thus:
a b c d e f# g# a g natural f natural e d c b a

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Identifying Key Signatures


The order of the sharps (from left to right) is Fat Cows Gulp Daises And Eat Beans. The Flats are
the opposite: BEADGCF.
Rule for Sharp Keys: The key is 1/2 step above the last sharp (sharp furthest to the
right).
Rule for Flat Keys: The key is the next to the last flat. With F Major, you have to
memorize that it's one flat, since there is no "next to last."

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