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Scales, Intervals, Common Chords, Dominant Seventh Chord and Melody Making.

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So far we have dealt only with the Major Scale. We now come to a considerate or of the Minor Scale. As this book has to do only with the practical use of the Scales, as we find them, we will not go into their history. Suffice it to say that each Major Scale is supposed to have a Relative Minor Scale. This relationship lies in the fact that these Scales have many notes in common. The Tonic of the Relative Minor is always found a Minor Third below the Tonic of the Relative Major
Suppose, for example, that we wish to write out the Relative Minor of C Major. The Tonic of C Major is C. A Minor Third below C is A; hence, A is the Tonic of A Minor. To write out the Scale of A Minor, simply rearrange the notes, just as jve find them in C Major, starting on A as the Tonic. Use the Same Signature for both.
Here is the C Major Scale:
_____--------------------                  ^----------G-----------------------------
We have now constructed the 3cale of A Minor.
Let us examine it, play it, sing it, and listen to it.
In this Scale, as it stands, we find the Half-Steps to lie between the 2nd and 3rd Degrees, and the 6th and 6th Degrees.
Scale of A Minok. :
12              3              4              6              6             7               8
There is little difficulty in recognizing the Minor Scale, when heard ; hut, for practice, Major Scales and Minor Scales, beginning on various Tonics, should be played and sung, and the student should endeavor to pick them out.
In the form in which we have written it out, the Minor Scale is known as the Natural Minor Scale. Modern musical requirements, however, have compelled several modifications in the Minor Scale.
The form of Minor Scale with which we have most to do at present is known a& the Harmonic Minor Scale. It differs from the Natural Minor Scale only in the fact that the 7th Degree is raised chromatically both ascending and descending.

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