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[BLANK_AUDIO]

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In the last section we were talking about
key signatures,

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and whenever we did that, we were talking
about major keys.

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>> We were saying things like, the two
Sharps, F-sharp, and C -sharp,

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so we must me in D-major, or there's three
flats, B E, A flats.

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So we must be in E-Flat major.

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>> Now a lot of you watching this video
might have

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already realized, but we've only really
given half the picture here

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because we're only talking about major
keys, and the thing that

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we've neglected to talk about up until now
is minor keys.

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Now, when we're looking at the circle of
fifths, we noticed that

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there were 12 distinct tonics that we
could build our major scales from.

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And actually for minor keys, there's 12
distinct

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tonics that we can build these from as
well.

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>> But, it's the same key signature system
that we're using.

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So we don't have to learn an entirely new
system of building these key signatures.

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The key signatures that we already learnt,
and the way

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they're constructed from collections of
sharps and collections of flats.

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This applies equally to the, to minor
scale

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systems as it does to major scale systems.

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Every key signature actually represents
not one, but two keys.

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It represents the major key and it

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represents the related, the relative minor
key.

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>> So this music we need to have a think
about what we actually mean by minor keys.

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And how we work out what major keys
they're related to.

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One of the easiest ways to do that is

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to start thinking about minor scales,
although this is

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slightly problematic, because when we talk
about minor scales,

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we're talking about something less
concrete, the major scales.

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And this is because there's more than one
version of a minor scale.

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But we'll start with the simplest.

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Now, every minor scale is related to a
major

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scale and if we look at that major scale,

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it just so happens that the sixth degree,
is

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the degree that the minor scale is built
from.

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>> So if we take D major example with it's

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F-sharp and its C-sharp, we're going to
start building up from D.

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D is number one.

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[MUSIC]

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1, 2, 3, 4, 5, 6.

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6 takes us to B.

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B is the relative minor for D.

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>> So, from this degree that we're
going to build our relative minor scale.

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So if we take the sharps that belong to D
major, F-sharp and C-sharp.

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We keep them, but we're just going to
start the whole sequence on B.

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We get B, C-sharp, D [SOUND]

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E, F-sharp, G, A, B.

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>> What we got to produce that B minor,
was all the

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notes of D major, but just rearranged with
B as our new tonic.

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[MUSIC]

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We call this the Natural Minor.

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It's the most closely related to D.

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Now we mentioned that there's a couple of

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different types of minor scale that are in
use.

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The reasons that we've got a few different
variations on that, is partly because of

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the transition we made from D to the

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relative Minor B, there in the natural
form.

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Where, where we're only using exactly the
notes

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of D Major but rearranged from B to B.

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And the results of that, is that although
we can

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start and end on B if we want to, we

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could easily, just as easily, end on D and
we'd

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be back feeling as though D was still our
tonic.

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[MUSIC]

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>> So D really feels the point of which
the music has come to rest that

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we feel comfortable with this as being the
center of the key and the whole note.

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And this goes back to what we talked about
in

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the previous section, whereby it's
actually not just the notes that

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are available to us, but it's the special
relationship that

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they have, and the environment, the sonic
environment that they create.

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And that's inevitably going to pull us
back to D.

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Listen to this though.

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[MUSIC]

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>> Now that minor scale had a really
different

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feeling to the natural minor that we
started with.

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We only changed one note, but the result
of that one change was

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to give us a scale that showed us how B
really is our new tonic.

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[MUSIC]

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>> So the note that we changed was the 7th
degree.

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So instead of an A natural, as we had when
we derived the scale

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from D-Major, we have an A-Sharp and
actually, what we heard was that this.

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[MUSIC]

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Really led our ears to B, being the new tonic.

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And actually the 7th degree of a scale is
called the Leading Note.

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And we really had this,

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[MUSIC]

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Raised 7th.

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Raised by a semitone, from an A to an
A-sharp.

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Led our ears to B as our new tonic.

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>> So, just to recap from previous
lectures, we now know

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that the 1st degree of this scale is
called the Tonic.

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The 5th degree of this scale is called the
Dominant and

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the 7th degree of this scale is called the
Leading Note.

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>> And this is one leads our ears to the
Tonic.

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But don't worry we're going to cover all
these note names and the others in week 4.

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[MUSIC]

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This leads our ears back to the Tonic.

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[BLANK_AUDIO]

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>> So the scale that we just produced by
raising that 7th degree, we

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call the Harmonic Minor Scale and it's the
one that has a really distinctive sound.

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In lecture 4, we're going to talk about
Harmony.

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We're going to talk about the relationship
of chords within a

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key and the way that the chords move and
progress.

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And at that point, it'll hopefully be a
little clearer

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as to why we call this the Harmonic Minor
Scale.

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>> So, up until now we've talked about

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the Natural Minor Scale, the Harmonic
Minor Scale, and

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we're going to go on to talk about the

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third main type, which is the Melodic
Minor Scale.

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Now remember we were talking about the
Harmonic Minor Scale.

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We noted how distinctive the sound was,
and the

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reason for this distinctive sound is the
big gap between

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the 6th degree and the 7th degree, created
by raising

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our 6th degree, before leading back to our
7th degree.

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>> It's a whole tone and a half.

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It's three semi tones in one leap.

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[MUSIC]

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So, it takes us up, if we want to sing it,
we have to sing.

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[MUSIC]

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B, C-Sharp, D, E, F-Sharp, G, A-Sharp, B.

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It's a long way to travel.

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>> And it's particularly awkward for
people to sing.

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It's a big, big interval to sing.

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So, although that distinctive sound, or
the Harmonic Minor Scale is really

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useful in composition and it can create
some really nice, interesting sounds.

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Actually in practice to get around the
difficulty of that interval.

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The melodic shape of the scale is smoothed
out.

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And actually when it's smoothed out, the
result is the Melodic Minor.

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So the Melodic Minor scale's different.

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Actually to all the scales we've
encountered so far, in that the ascending

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form when it's going up, differs from the
descending form, when it comes back down.

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[MUSIC]

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>> So you can hear that we wanted to do
something that would smooth out that

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great big tone and a half gap that, that
was difficult to sing, a great big leap.

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So on the way up [music] - that one.

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So on the way up, the way that the

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melodic minor is shaped, is it smooths out
that gap.

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[MUSIC]

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It keeps that sharp in 7th, the one that
leads our ears up from the Leading note

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to the tonic, but to fill in that big old
gap it raises the 6th degree as well.

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[MUSIC]

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It's easier to sing.

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B, C-sharp, D, E, F-sharp, G-sharp,
A-sharp, B.

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Now when we come down our ears care less
about that leading tone to tonic Interval.

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That when we're going the other way, the

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leading note isn't leading up to the tonic
anymore.

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It's kind of just the 7th.

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So, when we come down in the Melodic Minor
Shape, both the

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sharpened 7th goes back, and the sharpened 6th reverts back.

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So we just come down in the Natural Minor
Form.

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[MUSIC]

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So, to make a nice smooth melodic musical
shape coming down, we

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just take away that sharpened 7th and
we take away

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that sharpened 6th and we just come
back down in

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the same pattern as the Natural Minor, and
that's easy to sing to.

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B-A-G-F sharp-E-D-C sharp-B.

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>> So what we can see, is that the
ascendant

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form of the Harmonic Minor Scale, is just
the Natural

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Minor with a raised 6th and 7th, whereas when
we

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come back down, it's exactly the same as a
Natural Minor.

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[BLANK_AUDIO]