![]() ![]() Nor do I think it helps to think about 3 distinct minor scales (natural / harmonic / melodic) - that just doesn't match common compositional practice. That's why when we're not playing the dominant chord C7 (or C), it's fine to play the chords that "naturally" have Eb in them such as Ab major and Eb major.Ĭlick to expand.Side comment: I don't think you ever want to think of a key as being "harmonic" minor. towards the tonic) but can keep the notes flattened when playing a downward scale (away). That's also why you raise the notes when playing an ascending melodic minor scale (i.e. So the whole reason to raise the Eb to E comes from borrowing this dominant-to-tonic motion from major. ![]() The only difference is the tritone resolves to the minor 3rd F & Ab.Īll the notes of C7 are already in F minor, except C7 has E instead of Eb. In F minor we can "borrow" that C7 and have C7->Fmin. We can build the dominant 7th, C7, using notes from F major (C E G Bb) and it will have a built-in strong tendency towards F major because of that leading tone and the tritone resolving to the major 3rd. This tritone has a strong motion towards collapsing to F & A. ![]() The major scale also contains a tritone interval naturally occuring between the 4th and 7th notes. In the F major scale, the E creates the leading tone E>F. The 7th-raising comes from borrowing the strong dominant-to-tonic tendencies that are built into the major scale. ![]()
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