Although the major scale is used in most music we wish to play by ear, we occasionally find some­thing in minor, and pieces which begin in major often modulate to minor. Everything we have learned so far in connection with the major scale can be applied with but little change to the minor.

Harmonic Minor

The construction of the scale is responsible for all the differences. In the major scale the half steps fall between 3 and 4, and 7 and 8. In the harmonic minor, which we use in playing by ear, they fall thus:

You will recognize the familiar minor quality as you play this scale; the chords which we use in harmonizing our tunes are built upon this scale; but the step and a half between 6 and 7 is awkward for singers. Consequently, in the melody or in any part where we are trying for a smooth effect, the 6 is often raised as the melody ascends to the tonic. Indeed, with this alteration the melody thrusts upward with even greater determination to reach the tonic. Then as the melody returns downwards, both 7 and 6 are lowered a half step, thus permitting the melody to sink easily toward the lower tonic.

Melodic Minor

The minor scale with these alterations in ascending and descending is known as the melodic minor. Thus:

C-D-Eb -F-G-A-B-C-Bb -Ab -G-F-Eb -D-C

The advantages for the melody are easily heard; but we shall not consider it farther, except as we use it to smooth out certain passages in minor melodic parts.

Natural Minor

There is one other minor that is often mentioned—the natural minor; it is primarily a theoretical concept and is practically never used in music. It is constructed like the harmonic minor except that 7 is a half step lower. We shall have no occasion to mention it again.

Play the harmonic minor in all keys; the ear and fingers will pick it up easily. Then play the melody of We Three Kings of Orient Are, verse only, beginning on 5.

Scale Spelling

Although the ear player does not need to think of the names of the notes he is playing, most players do and are often bothered with the spelling of the minor scale. In constructing our scales, every letter must be used, even though it some­times involves double sharps (x) and double flats (bb).

Thus the scale of D# minor is spelled:

Or, if we wish to consider it the scale of Eb minor, it will be spelled:

It may appear simpler to say D instead of Cx, but such a practice will lead to hopeless confusion if one thinks of pieces in a certain key. The names of the notes are not essential to the ear player; but in so far as he uses them, he should use them correctly.

Modes

There are other modes, or scales, which are used infrequently today but which have been very extensively used at certain times in history. They are each characterized by a particular arrangement of the half steps and whole steps and seldom are harmonized. They survive today chiefly in the liturgy of the Catholic Church. The Phrygian, Lydian, Dorian, and Mixolydian are examples of these. From the great number of modes that were once in use, our major and harmonic minor have survived because of their facility in harmonization.

Minor Harmony

The effect which the minor mode has upon our harmony can be seen if we construct triads and seventh chords upon the tones of the minor scale as we did in the major scale.

Major triads now occur on V and VI.

Minor triads are on I and IV.

Diminished triads are on II and VII.

HI is an augmented triad.

As in the major keys, the only chords which concern us greatly are the chords in the cadence: I, IV, and V. Play the perfect cadence in all the minor keys. After just a few trials it becomes very easy. Now play the chords to the verse of We Three Kings; they should not be difficult.

Next build the seventh chords on all the tones of the minor scale; you will get some rather unusual combinations. Only two are important to us. The dominant seventh remains exactly the same in both major and minor. In other words, any time you have a V7 you may resolve it to either a major or minor tonic triad. The other important chord occurs on the 7th degree of the scale and is our already familiar diminished seventh.

Consequently, the harmony in the minor scale does not cause us any new difficulties.

Many times, however, we are not certain whether or not we should go into the minor key. This, like all else in ear playing, is chiefly a matter of sensitive listening; but some suggestions may come from noticing how the minor keys are related to the major in the circle of keys.

The minor keys are in the inner circle, the major in the outer. In accordance with general usage, capital letters are used for major keys and small letters for minor keys, thus: C for C major and c for C minor. The minor scale having the same signature is always found on the sixth degree of the major scale.

Conversely, if we are already playing in minor, the major scale with the same signature is always found on the third degree of the minor scale. These scales with the same signature are called "relative minor" or "relative major."

Circle of Keys in Minor

Tonic Minor

The most closely related major and minor keys are those which have the same tonic: C major and C minor; A major and A minor; etc. The V7, which they have in common, joins them so closely together that often one is not sure just which key he is in.

Relative Minor

The most frequently used modulation, however, is from the major to the minor key which has the 6 of the major scale as its tonic. This is the relationship that is indicated in the circle of keys as drawn above—A minor begins on the sixth tone of C major. These two keys have the same signature. Actually A minor requires a G# which is definitely not in the key of C major. However, it seems easier to think of that as an accidental and not as belonging to the minor key itself. Thus we have the same signature for the major key and for the minor that occurs on its 6th degree, which is known as the relative minor. A is the relative minor to C major; E is the relative minor to G major; B is the relative minor to D major; etc. Similarly, C is the relative major to A minor; G is the relative major to E minor; etc.

To find how close this relationship is, play the cadence

in C major and then the V7 in A minor and establish the modulation by playing the cadence in A minor. Although you have the feeling now of being in A minor, you will find that the slightest suggestion of C major will bring you back to the original key. The V7 in C is, of course, the usual method of making this suggestion.

A good example of this is We Three Kings, in which the verse is in minor but goes to the relative major for the chorus, the new V7 chord being taken on the familiar slur "Oh—."

Modulation in Minor

The modulation from a minor key to its dominant or sub-dominant key is an easy one to establish. Thus one can go from a minor key to the dominant minor and then, without stopping, on to the tonic major of that dominant minor. This appears a little complicated and is not recommended as an exercise unless one is particularly interested in such modulations; but some ear players enjoy nothing more than experimenting with new harmonies, and particularly with new modulations. They will spend an entire evening working out certain progressions, which then become a part of their working repertoire and produce some most astounding results. Such a player will find the circle of keys on page 48 very suggestive

For the zealous explorer, the following sequences are suggested:

1.	Go to the dominant major, then to the relative minor, then to the dominant minor, and then to the relative major. Repeat the process until you arrive back at the original key. Thus:
2.	Go through this same sequence beginning with the Db tonic chord
3.	Do the same, going to the subdominant each time instead of the dominant. Thus:
4.	By means of the V7 go through this series: C   g   D   a   E   b   F#    c#    Ab    eb    Bb    f   C
5.	Do the same, going to the subdominant each time instead of the dominant. Thus: C   f   Bb    eb    Ab    c#    F#    b   E   a   D   g   C

Popular superstition states that the minor keys are sad; this is far from the truth. The familiar Schubert Moment Musical is in F minor, but it most certainly is not sad. The Toreador Song from Carmen is in minor until the chorus enters, when it goes into the tonic major; this is one of the most virile numbers in song literature. On the other hand, Tschaikowsky was very partial to minor and frequently used it to depict tragedy or to arouse feelings of despair. But then, he also used major for the same purpose. It is the way the harmonies are used, rather than the key or mode, that determines the mood of music.

Chromatic Scale

Although the chromatic scale is certainly not minor and can scarcely be called a mode, it may be considered in this chapter as well as anywhere. Indeed, it is not even a scale, for it involves every note on the piano keyboard. Nevertheless, it is effective at times and is probably worth the little practice necessary to master it. The easiest fingering for the chromatic scale, regardless of where it is used or on what tone it begins, is to put the 3rd finger on all black notes and the thumb on all white, except when two white keys occur together, where the 2nd finger must also be used. This is good for either hand going up or down. Since there is only one chromatic scale, fingering is thus quickly solved. Practice this with two hands in octaves a little while every day, and the scale will soon be mastered, although it may take some time to attain any great speed.

Glissando

Closely allied to the chromatic scale is the glissando, which consists of sliding the thumb or finger quickly over all the white keys. It is a cheap effect but has been used by some of the best composers and adds zest to many a boisterous number. Different players have various ways of executing the glissando. The safest method is to use the nail of the 3rd finger when going up in the right hand, the thumb nail when coming down. I say "safest" advisedly, for it is possible to rub the skin off the finger in a single glissando, if the finger is not held properly. Let the nail be held quite firmly at about a 45 ° angle; lead ahead with the wrist and let the finger drag after. It is easier to play the glissando fast than slow. Do not bear down too hard, though the amount of pressure necessary varies according to the stiffness of the piano action.

A more definite ending may be put onto the glissando by omitting the next to the last one or two notes at the top or bottom and taking the final note with the 2nd finger at the top or the 3rd finger at the bottom. This requires a sudden twist of the hand and a quick snap of the finger; but it adds a crack to the glissando that is just what is usually wanted. This is horseplay, but it is good fun.

The scales are the basis of all our melody and harmony-today. We easily take them for granted. To understand and appreciate them requires persistent work and, above all, careful attention with the ear.

Pieces Which Are in Minor

	minor key	first melody tone
We Three Kings	E	5
Elegie (MASSENET)	D	1
Once to Every Man and Nation	F	1
Moment Musical (SCHUBERT)	F	3
Miserere from II TROVATORE (VERDI)	D	1
Habanera from CARMEN (BIZET)	D	1
Marche Slave (Tschaikowsky)	Bb	5
Serenade (Schubert)	D	5
Moonlight Sonata (Beethoven)	C#	5
Orientale (Cm)	G	5
Morris Dance (German)	A	1
Water Boy	D	5
Unfinished Symphony (Schubert)	A	2

WHAT TO DO Play minor triads and invert them. Play the perfect cadence in all the minor keys. Play the inversions of the cadences. Play progressions around the circle of keys in minor.

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