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44-579: C minor is a minor scale based on C , consisting of the pitches C, D , E ♭ , F , G , A ♭ , and B ♭ . Its key signature consists of three flats . Its relative major is E ♭ major and its parallel major is C major . The C natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The C harmonic minor and melodic minor scales are: The scale degree chords of C minor are: Minor scale These scales contain all three notes of

88-616: A minor triad ) are also commonly referred to as minor scales. Within the diatonic modes of the major scale , in addition to the Aeolian mode (which is the natural minor scale), the Dorian mode and the Phrygian mode also fall under this definition. Conversely, the Locrian mode has a minor third, but a diminished fifth (thus containing a diminished triad ), and is therefore not commonly referred to as

132-491: A minor triad : the root , a minor third (rather than the major third , as in a major triad or major scale ), and a perfect fifth (rather than the diminished fifth , as in a diminished scale or half diminished scale ). Minor scale is also used to refer to other scales with this property, such as the Dorian mode or the minor pentatonic scale (see other minor scales below). A natural minor scale (or Aeolian mode )

176-464: A secondary tonic . It functions to briefly tonicize a scale tone (usually the 5th degree) as part of a secondary dominant chord. In the second measure of Beethoven 's Waldstein Sonata (shown below), the F ♯ 's function as secondary leading tones, which resolve to G in the next measure. By contrast, a descending, or upper, leading tone is a leading tone that resolves down , as opposed to

220-415: A whole step between these scale degrees for smooth melody writing. To eliminate the augmented second, these composers either raised the sixth degree by a semitone or lowered the seventh by a semitone. The melodic minor scale is formed by using both of these solutions. In particular, the raised sixth appears in the ascending form of the scale, while the lowered seventh appears in the descending form of

264-407: A "major" or "minor" scale. The two Neapolitan scales are both "minor scales" following the above definition, but were historically referred to as the "Neapolitan Major" or "Neapolitan Minor" based rather on the quality of their sixth degree . In modern notation, the key signature for music in a minor key is typically based on the accidentals of the natural minor scale, not on those of

308-472: A G major scale and stop on the seventh note (F ♯ ) to personally experience the feeling of lack caused by the "particularly strong attraction" of the seventh note to the eighth (F ♯ →G'), thus its name. A leading-tone chord is a triad built on the seventh scale degree in major and the raised seventh-scale-degree in minor. The quality of the leading-tone triad is diminished in both major and minor keys. For example, in both C major and C minor, it

352-408: A first inversion tonic triad: that is, "In addition to its basic function of passing between I and I , VII has another important function: it can form a neighboring chord to I or I ." In that instance, the leading-tone triad prolongs tonic through neighbor and passing motion. The example below shows two measures from the fourth movement of Beethoven 's Piano Sonata No. 3 in C major, Op. 2 in which

396-451: A leading-tone triad functions as a passing chord between I and I . The leading-tone triad may also be regarded as an incomplete dominant seventh chord : "A chord is called 'Incomplete' when its root is omitted. This omission occurs, occasionally, in the chord of the dom.-seventh, and the result is a triad upon the leading tone." Some sources say the chord is not a chord; some argue it is an incomplete dominant seventh chord, especially when

440-512: A minimum of technique. For example, vii often substitutes for V 3 , which it closely resembles, and its use may be required in situations by voice leading : "In a strict four-voice texture, if the bass is doubled by the soprano, the VII [vii ] is required as a substitute for the V 3 ". Since the leading-tone triad is a diminished triad, it is usually found in its first inversion : According to Carl Edward Gardner, "The first inversion of

484-407: A minor scale. The Hungarian minor scale is another heptatonic (7-note) scale referred to as minor. The Jazz minor scale is a name for the melodic minor scale when only the "ascending form" is used. Non-heptatonic scales may also be called "minor", such as the minor pentatonic scale . While any other scale containing a minor triad could be defined as a "minor scale", the terminology

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528-517: A notable influence on heavy metal, spawning a sub-genre known as neoclassical metal , with guitarists such as Chuck Schuldiner , Yngwie Malmsteen , Ritchie Blackmore , and Randy Rhoads employing it in their music. The distinctive sound of the harmonic minor scale comes from the augmented second between its sixth and seventh scale degrees. While some composers have used this interval to advantage in melodic composition, others felt it to be an awkward leap, particularly in vocal music , and preferred

572-498: Is D, the relative minor of F major is D minor . A natural minor scale can also be constructed by altering a major scale with accidentals . In this way, a natural minor scale is represented by the following notation: This notation is based on the major scale, and represents each degree (each note in the scale) by a number, starting with the tonic (the first, lowest note of the scale). By making use of flat symbols ( ♭ ) this notation thus represents notes by how they deviate from

616-425: Is a diatonic scale that is built by starting on the sixth degree of its relative major scale . For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: Because of this, the key of A minor is called the relative minor of C major . Every major key has a relative minor, which starts on the 6th scale degree or step. For instance, since the 6th degree of F major

660-459: Is a whole tone between the seventh scale degree and the tonic, such as the Mixolydian mode , the seventh degree is called the subtonic . However, in modes without a leading tone, such as Dorian and Mixolydian, a raised seventh is often featured during cadences, such as in the harmonic minor scale . A leading tone outside of the current scale is called a secondary leading tone , leading to

704-412: Is a B diminished triad (though it is usually written in first inversion , as described below). According to John Bunyan Herbert, (who uses the term " subtonic ", which later came to usually refer to a seventh scale degree pitched a whole tone below the tonic note), The subtonic [leading-tone] chord is founded upon seven (the leading tone) of the major key, and is a diminished chord... The subtonic chord

748-436: Is in an inner voice, the leading tone in a leading-tone triad must resolve to the tonic. Commonly, the fifth of the triad resolves down since it is phenomenologically similar to the seventh in a dominant seventh chord . All in all, the tritone resolves inward if it is written as a diminished fifth (m. 1 below) and outward if it is written as an augmented fourth (m. 2). The leading-tone seventh chords are vii and vii ,

792-409: Is in fact created through or with harmonic function, a root progression in another voice by a whole tone or fifth, or melodically ( monophonically ) by the context of the scale. For example, the leading tone of alternating C chord and F minor chords is either the note E leading to F (if F is tonic), or A ♭ leading to G (if C is tonic). In works from the 14th- and 15th-century Western tradition,

836-424: Is less commonly used for some scales, especially those further outside the western classical tradition . The hexatonic (6-note) blues scale is similar to the minor pentatonic scale and fits the above definition. However, the flat fifth is present as a passing tone along with the perfect fifth, and the scale is often played with microtonal mixing of the major and minor thirds – thus making it harder to classify as

880-479: Is similar to the harmonic minor scale but with a raised 4th degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by 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 Katy B 's " Easy Please Me ", Bobby Brown 's " My Prerogative ", and Jazmine Sullivan 's " Bust Your Windows ". The scale also had

924-400: Is very much neglected by many composers, and possibly a little overworked by others. Its occasional use gives character and dignity to a composition. On the whole, the chord has a poor reputation. Its history, in brief, seems to be: Much abused and little used. The leading-tone triad is used in several functions. It is commonly used as a passing chord between a root position tonic triad and

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968-430: The common practice period often employed modal mixture when using the leading-tone seventh chord in a major key, allowing for the substitution of the half-diminished seventh chord with the fully diminished seventh chord (by lowering its seventh). This mixture is commonly used when the leading-tone seventh chord is functioning as a secondary leading-tone chord . The example below shows fully diminished seventh chords in

1012-748: The half-diminished and diminished seventh chords on the seventh scale degree ( [REDACTED] ) of the major and harmonic minor . For example, in C major and C minor, the leading-tone seventh chords are B half-diminished (B–D–F–A) and B diminished (B–D–F–A ♭ ), respectively. Leading-tone seventh chords were not characteristic of Renaissance music but are typical of the Baroque and Classical period. They are used more freely in Romantic music but began to be used less in classical music as conventions of tonality broke down. They are integral to ragtime and contemporary popular and jazz music genres. Composers throughout

1056-441: The 6th degree of the major scale, the tonic of the relative minor is a major sixth above the tonic of the major scale. For instance, B minor is the relative minor of D major because the note B is a major sixth above D. As a result, the key signatures of B minor and D major both have two sharps (F ♯ and C ♯ ). Leading tone In music theory , a leading tone (also called subsemitone or leading note in

1100-458: The UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading tone, respectively. Typically, the leading tone refers to the seventh scale degree of a major scale ( [REDACTED] ), a major seventh above the tonic . In the movable do solfège system, the leading tone is sung as si . A leading-tone triad is a triad built on

1144-435: The descending diatonic supertonic ( ♮ [REDACTED] ).) The tritone substitution , chord progression ii–subV–I on C (Dm–Db7–C), results in an upper leading note. According to Ernst Kurth , the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole tone, respectively, and thus establish tonality . However, Carl Dahlhaus contests Kurth's position, holding that this drive

1188-409: The diminished triad is written in its first inversion (resembling a second inversion dominant seventh without a root): The subtonic [i.e. leading-tone] chord is a very common chord and a useful one. The triad differs in formation from the preceding six [major and minor diatonic] triads. It is dissonant and active... a diminished triad. The subtonic chord belongs to the dominant family. The factors of

1232-577: The finale of his String Quartet No. 14 ), and Schubert (for example, in the first movement of the Death and the Maiden Quartet ). In this role, it is used while descending far more often than while ascending. A familiar example of the descending scale is heard in a Ring of bells . A ring of twelve is sometimes augmented with a 5♯ and 6♭ to make a 10 note harmonic minor scale from bell 2 to bell 11 (for example, Worcester Cathedral). The Hungarian minor scale

1276-527: The harmonic minor scale functions as a leading tone to the tonic because it is a semitone lower than the tonic, rather than a whole tone lower than the tonic as it is in natural minor scales. The intervals between the notes of a harmonic minor scale follow the sequence below: 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 , Beethoven (for example,

1320-408: The harmonic or melodic minor scales. For example, a piece in E minor will have one sharp in its key signature because the E natural minor scale has one sharp (F ♯ ). Major and minor keys that share the same key signature are relative to each other. For instance, F major is the relative major of D minor since both have key signatures with one flat. Since the natural minor scale is built on

1364-415: The key of A minor is called the parallel minor of A major . The intervals between the notes of a natural minor scale follow the sequence below: where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figure). The natural minor scale is maximally even . The harmonic minor scale (or Aeolian ♯ 7 scale) has

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1408-541: The key of D major in the right hand in the third movement of Mozart 's Piano Sonata No. 5 in G major. The leading-tone seventh chord has a dominant function and may be used in place of V or V . Just as vii is sometimes considered an incomplete dominant seventh chord, a leading-tone seventh chord is often considered a " dominant ninth chord without root". ) For variety, leading-tone seventh chords are frequently substituted for dominant chords , with which they have three common tones: "The seventh chord founded upon

1452-411: The leading tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison. The same pitch outside of the imperfect consonance is not a leading tone. Forte claims that the leading tone is only one example of a more general tendency: the strongest progressions, melodic and harmonic, are by half step . He suggests that one play

1496-411: The notes in the major scale. Because of this, we say that a number without a flat represents a major (or perfect) interval, while a number with a flat represents a minor interval. In this example, the numbers mean: Thus, for instance, the A natural minor scale can be built by lowering the third, sixth, and seventh degrees of the A major scale by one semitone: Because they share the same tonic note of A,

1540-413: The same notes as the natural minor scale except that the seventh degree is raised by one semitone , creating an augmented second between the sixth and seventh degrees. Thus, a harmonic minor scale is represented by the following notation: A harmonic minor scale can be built by lowering the 3rd and 6th degrees of the parallel major scale by one semitone. Because of this construction, the 7th degree of

1584-426: The scale. Traditionally, these two forms are referred to as: The ascending and descending forms of the A melodic minor scale are shown below: The ascending melodic minor scale can be notated as while the descending melodic minor scale is Using these notations, the two melodic minor scales can be built by altering the parallel major scale. The intervals between the notes of an ascending melodic minor scale follow

1628-422: The sequence below: The intervals between the notes of a descending melodic minor scale are the same as those of a descending natural minor scale. Composers have not been consistent in using the two forms of the melodic minor scale. Composers frequently require the lowered 7th degree found in the natural minor in order to avoid the augmented triad (III ) that arises in the ascending form of the scale. Examples of

1672-444: The seventh scale degree ( [REDACTED] ) of the major scale, which has a strong affinity for and leads melodically to the tonic . It is sung as si in movable-do solfège . For example, in the F major scale, the leading note is the note E. As a diatonic function , the leading tone is the seventh scale degree of any diatonic scale when the distance between it and the tonic is a single semitone . In diatonic scales in which there

1716-560: The seventh scale degree (a lower leading tone) which resolves up. The descending, or upper, leading tone usually is a lowered second degree ( ♭ [REDACTED] ) resolving to the tonic, but the expression may at times refer to a ♭ [REDACTED] resolving to the dominant. In German, the term Gegenleitton ("counter leading tone") is used by Hugo Riemann to denote the descending or upper leading-tone ( ♭ [REDACTED] ), but Heinrich Schenker uses abwärtssteigenden Leitton ("descending leading tone") to mean

1760-510: The seventh scale degree in a major key (vii in Roman numeral analysis ), while a leading-tone seventh chord is a seventh chord built on the seventh scale degree (vii ). Walter Piston considers and notates vii as V 7 , an incomplete dominant seventh chord . (For the Roman numeral notation of these chords, see Roman numeral analysis .) Typically, when people speak of the leading tone, they mean

1804-429: The subtonic [in major]... is occasionally used. It resolves directly to the tonic... This chord may be employed without preparation." In contrast to leading-tone triads, leading-tone seventh chords appear in root position . The example below shows leading-tone seventh chords (in root position) functioning as dominants in a reduction of Mozart's Don Giovanni , K. 527, act 1, scene 13. François-Joseph Fétis tunes

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1848-431: The triad are the same tones as the three upper factors of the dominant seventh chord and progress in the same manner. These facts have led many theorists to call this triad a 'dominant seventh chord without root.'... The subtonic chord in both modes has suffered much criticism from theorists although it has been and is being used by masters. It is criticized as being 'overworked', and that much can be accomplished with it with

1892-414: The triad is considered, by many, preferable to root position . The second inversion of the triad is unusual. Some theorists forbid its use." In a four-part chorale texture , the third of the leading-tone triad is doubled in order to avoid adding emphasis on the tritone created by the root and the fifth. Unlike a dominant chord where the leading tone can be frustrated and not resolve to the tonic if it

1936-470: The use of melodic minor in rock and popular music include Elton John 's " Sorry Seems to Be the Hardest Word ", which makes, "a nod to the common practice... by the use of F ♯ [the leading tone in G minor] as the penultimate note of the final cadence ." The Beatles ' " Yesterday " also partly uses the melodic minor scale. Other scales with a minor third and a perfect fifth (i.e. containing

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