The Dorian mode also has a hint of ambiguity that can make it an effective alternative to natural minor. It can sound sad, but perhaps not as distinctly sad as minor can sound. The Dorian mode is used occasionally in pop music. If we were to construct E Dorian, we would first make the E natural minor scale (E F# G A B C D E) and then raise the sixth note by a half step (E F# G A B C# D E).

We do not call it “C Dorian,” even though it has the same notes as the C major scale.) (Note that we call this mode “D Dorian” because it starts on D. The only difference is that we have a raised sixth scale degree – B instead of Bb. Note that our D E F G A B C D pattern is also similar to D natural minor (D E F G A Bb C D). Weird.” We’re using all the same notes as the C major scale, but now the pattern is based around D, not C. Now we’ll use the same notes as the C major scale, but we’ll begin and end on D. To see what that might mean, let’s take the C major scale. In addition to major and minor keys, we can also use modes, in which we’ll take the major and natural minor patterns (W W H W W W H and W H W W H W W, respectively) and displace them, moving W’s and H’s from the beginning of the pattern to the end. The blues scale and pentatonic scales are frequently useful in blues and rock. You can use them in place of major and minor to create songs of subtly (or not so subtly) different character. Use this guide to minor scales to start exploring the darker, gloomier side of chords and scales.Modes (Dorian, Phrygian, Lydian, Mixolydian and Locrian) are based upon patterns similar to major and minor scales. Making music with minor scales may seem complicated, but if you know the function of each and where to use it, you won’t have any trouble. Writing music in minor is essential if you want to evoke sad emotions in your listeners. The real power of modulation lies in your creativity, so experiment with modulating to and from minor keys, and see what unique emotional landscapes you can create in your compositions. It’s also worth exploring more exotic modulations.įor example, transitioning from a minor key to its parallel major (e.g., A minor to A Major) can create an uplifting, transformative effect, often used in the final section of a piece to provide resolution and a sense of triumph. Similarly, you can switch from natural minor to melodic minor while ascending a scale or a melody line to smooth out the melodic flow, creating a somewhat ‘brighter’ minor feel due to the raised sixth and seventh degrees. This change can introduce tension, setting up a strong resolution to the tonic, which is a common trick in many classical compositions. Let’s say you’re writing a piece in A minor (the natural minor scale of C Major).īy raising the seventh note (G to G#), you get the harmonic minor scale. Knowing your circle of fifths can help with finding pleasing keys to modulate to.īut the potential for modulation with minor scales goes beyond just major-relative minor shifts. It follows the pattern of generating the church modes from each degree of the major scale-but that’s a topic for another article! This relationship is also the reason why natural minor is sometimes called the Aeolian mode. Playing the notes in this key signature in order will give you the A natural minor scale. It shares the same key signature with no sharps and flats. The relative minor is the 7 note scale beginning and ending on the 6th degree of any major scale.įor example, the relative minor of C Major is A minor. It’s called natural minor because it’s equivalent to the relative minor key signature in a major key without any changes to the pattern.Įach major key shares its key signature with a related minor scale called the relative minor. The pattern can be shown by writing the degrees of the scale that are altered from the major scale It’s based on the following tone-semitone pattern: Tone-semitone-tone-tone-semitone-tone-tone.

Natural minor is the simplest form of minor scale.

Classical compositions unusual scales