That’s why in jazz or other modern music musicians are so obsessed learning scales, modes, etc. I put “right” because you can experiment with out of scale notes on your melody or solo. I’m working on understanding this too and for what I see if you have a determined chord progression going on, the scale (or scales) that fits on that progression (the one/ones that shares the same notes) is the one that will give you the “right” notes to play on the chords. Harmonic and melodic minor - as separate scales - are not. The natural minor scale (aka aeolian mode) is a common basis for a lot of music.
Sometimes, in fact, you will find no instance of harmonic or melodic alterations. You can certainly think from either a melodic or harmonic perspective (direction of melodic or harmonic resolution), but there is no need to think of three different scales. I suggest studying lots of minor key songs and identifying when (and why) those different 6ths and 7ths are chosen. Why the need to nail down scales as always having 7 fixed notes?) (For some reason, most theory books seem to have a lot of trouble with this concept. There are not three scales there is just one, but two of its notes are not fixed they can be changed for either melodic or harmonic reasons, or both. That's the way it seems to be, in "most" minor key tunes - at least if you're thinking from scale principles in the first place.Ī simpler way of looking at it - which seems to fit minor key music better - is to regard a minor key scale as having variable 6th and 7th degrees. Probably because the observation in your quote is quite easily made. Undergraduate Student Read about flair in /r/musictheory and get your own!īooks tend to promote this idea that there are three different minor scales.
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