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65-406: The B natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B harmonic minor and melodic minor scales are: Christian Friedrich Daniel Schubart (1739–1791) regarded B minor as a key expressing a quiet acceptance of fate and very gentle complaint, something commentators find to be in line with Bach's use of

130-497: A chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g. from C to C ♯ ). These are enharmonically equivalent if and only if twelve-tone equal temperament is used; for example, they are not the same thing in meantone temperament , where the diatonic semitone is distinguished from and larger than the chromatic semitone (augmented unison), or in Pythagorean tuning , where

195-481: A commonly used version of 5 limit tuning have four different sizes, and can be classified as follows: The most frequently occurring semitones are the just ones ( S 3 , 16:15, and S 1 , 25:24): S 3 occurs at 6 short intervals out of 12, S 1 3 times, S 2 twice, and S 4 at only one interval (if diatonic D ♭ replaces chromatic D ♭ and sharp notes are not used). The smaller chromatic and diatonic semitones differ from

260-456: A diatonic and chromatic semitone in the tuning. Well temperament was constructed so that enharmonic equivalence could be assumed between all of these semitones, and whether they were written as a minor second or augmented unison did not effect a different sound. Instead, in these systems, each key had a slightly different sonic color or character, beyond the limitations of conventional notation. Like meantone temperament, Pythagorean tuning

325-483: A diminished scale or half diminished scale ). Minor scale is also used to refer to other scales with this property, such as the Dorian mode or the minor pentatonic scale (see other minor scales below). A natural minor scale (or Aeolian mode ) is a diatonic scale that is built by starting on the sixth degree of its relative major scale . For instance, the A natural minor scale can be built by starting on

390-546: A diminished seventh chord , or an augmented sixth chord . Its use is also often the consequence of a melody proceeding in semitones, regardless of harmonic underpinning, e.g. D , D ♯ , E , F , F ♯ . (Restricting the notation to only minor seconds is impractical, as the same example would have a rapidly increasing number of accidentals, written enharmonically as D , E ♭ , F ♭ , G [REDACTED] , A [REDACTED] ). Harmonically , augmented unisons are quite rare in tonal repertoire. In

455-459: A half tone , is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale (or half of a whole step ), visually seen on a keyboard as the distance between two keys that are adjacent to each other. For example, C is adjacent to C ♯ ;

520-635: A minor triad ) are also commonly referred to as minor scales. Within the diatonic modes of the major scale , in addition to the Aeolian mode (which is the natural minor scale), the Dorian mode and the Phrygian mode also fall under this definition. Conversely, the Locrian mode has a minor third, but a diminished fifth (thus containing a diminished triad ), and is therefore not commonly referred to as

585-415: A whole step between these scale degrees for smooth melody writing. To eliminate the augmented second, these composers either raised the sixth degree by a semitone or lowered the seventh by a semitone. The melodic minor scale is formed by using both of these solutions. In particular, the raised sixth appears in the ascending form of the scale, while the lowered seventh appears in the descending form of

650-476: A whole tone lower than the tonic as it is in natural minor scales. The intervals between the notes of a harmonic minor scale follow the sequence below: While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in Mozart , Beethoven (for example, the finale of his String Quartet No. 14 ), and Schubert (for example, in

715-407: A "major" or "minor" scale. The two Neapolitan scales are both "minor scales" following the above definition, but were historically referred to as the "Neapolitan Major" or "Neapolitan Minor" based rather on the quality of their sixth degree . In modern notation, the key signature for music in a minor key is typically based on the accidentals of the natural minor scale, not on those of

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780-465: A caustic dissonance, having no resolution. Some composers would even use large collections of harmonic semitones ( tone clusters ) as a source of cacophony in their music (e.g. the early piano works of Henry Cowell ). By now, enharmonic equivalence was a commonplace property of equal temperament , and instrumental use of the semitone was not at all problematic for the performer. The composer was free to write semitones wherever he wished. The exact size of

845-519: A fundamental part of the musical language, even to the point where the usual accidental accompanying the minor second in a cadence was often omitted from the written score (a practice known as musica ficta ). By the 16th century, the semitone had become a more versatile interval, sometimes even appearing as an augmented unison in very chromatic passages. Semantically , in the 16th century the repeated melodic semitone became associated with weeping, see: passus duriusculus , lament bass , and pianto . By

910-450: A melodic half step, no "tendency was perceived of the lower tone toward the upper, or of the upper toward the lower. The second tone was not taken to be the 'goal' of the first. Instead, the half step was avoided in clausulae because it lacked clarity as an interval." However, beginning in the 13th century cadences begin to require motion in one voice by half step and the other a whole step in contrary motion. These cadences would become

975-407: A minor scale. The Hungarian minor scale is another heptatonic (7-note) scale referred to as minor. The Jazz minor scale is a name for the melodic minor scale when only the "ascending form" is used. Non-heptatonic scales may also be called "minor", such as the minor pentatonic scale . While any other scale containing a minor triad could be defined as a "minor scale", the terminology

1040-400: A natural minor scale is represented by the following notation: This notation is based on the major scale, and represents each degree (each note in the scale) by a number, starting with the tonic (the first, lowest note of the scale). By making use of flat symbols ( ♭ ) this notation thus represents notes by how they deviate from the notes in the major scale. Because of this, we say that

1105-517: A notable influence on heavy metal, spawning a sub-genre known as neoclassical metal , with guitarists such as Chuck Schuldiner , Yngwie Malmsteen , Ritchie Blackmore , and Randy Rhoads employing it in their music. The distinctive sound of the harmonic minor scale comes from the augmented second between its sixth and seventh scale degrees. While some composers have used this interval to advantage in melodic composition, others felt it to be an awkward leap, particularly in vocal music , and preferred

1170-444: A number without a flat represents a major (or perfect) interval, while a number with a flat represents a minor interval. In this example, the numbers mean: Thus, for instance, the A natural minor scale can be built by lowering the third, sixth, and seventh degrees of the A major scale by one semitone: Because they share the same tonic note of A, the key of A minor is called the parallel minor of A major . The intervals between

1235-440: A pitch ratio of 16:15 ( play ) or 1.0666... (approximately 111.7  cents ), called the just diatonic semitone . This is a practical just semitone, since it is the interval that occurs twice within the diatonic scale between a: The 16:15 just minor second arises in the C major scale between B & C and E & F, and is, "the sharpest dissonance found in the scale". An "augmented unison" (sharp) in just intonation

1300-477: A semitone depends on the tuning system used. Meantone temperaments have two distinct types of semitones, but in the exceptional case of equal temperament , there is only one. The unevenly distributed well temperaments contain many different semitones. Pythagorean tuning , similar to meantone tuning, has two, but in other systems of just intonation there are many more possibilities. In meantone systems, there are two different semitones. This results because of

1365-419: Is a broken circle of fifths . This creates two distinct semitones, but because Pythagorean tuning is also a form of 3-limit just intonation , these semitones are rational. Also, unlike most meantone temperaments, the chromatic semitone is larger than the diatonic. The Pythagorean diatonic semitone has a ratio of 256/243 ( play ), and is often called the Pythagorean limma . It is also sometimes called

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1430-401: Is a different, smaller semitone, with frequency ratio 25:24 ( play ) or 1.0416... (approximately 70.7 cents). It is the interval between a major third (5:4) and a minor third (6:5). In fact, it is the spacing between the minor and major thirds, sixths, and sevenths (but not necessarily the major and minor second). Composer Ben Johnston used a sharp ( ♯ ) to indicate a note

1495-455: Is called hemitonia; that of having no semitones is anhemitonia . A musical scale or chord containing semitones is called hemitonic; one without semitones is anhemitonic. The minor second occurs in the major scale , between the third and fourth degree, ( mi (E) and fa (F) in C major), and between the seventh and eighth degree ( ti (B) and do (C) in C major). It is also called the diatonic semitone because it occurs between steps in

1560-424: Is less commonly used for some scales, especially those further outside the western classical tradition . The hexatonic (6-note) blues scale is similar to the minor pentatonic scale and fits the above definition. However, the flat fifth is present as a passing tone along with the perfect fifth, and the scale is often played with microtonal mixing of the major and minor thirds – thus making it harder to classify as

1625-449: Is raised 70.7 cents, or a flat ( ♭ ) to indicate a note is lowered 70.7 cents. (This is the standard practice for just intonation, but not for all other microtunings.) Two other kinds of semitones are produced by 5 limit tuning. A chromatic scale defines 12 semitones as the 12 intervals between the 13 adjacent notes, spanning a full octave (e.g. from C 4 to C 5 ). The 12 semitones produced by

1690-479: Is similar to the harmonic minor scale but with a raised 4th degree. This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by Miles Davis who describes it in his autobiography as "something that I'd learned at Juilliard". In popular music, examples of songs in harmonic minor include Katy B 's " Easy Please Me ", Bobby Brown 's " My Prerogative ", and Jazmine Sullivan 's " Bust Your Windows ". The scale also had

1755-421: Is the diminished octave ( d8 , or dim 8 ). The augmented unison is also the inversion of the augmented octave , because the interval of the diminished unison does not exist. This is because a unison is always made larger when one note of the interval is changed with an accidental. Melodically , an augmented unison very frequently occurs when proceeding to a chromatic chord, such as a secondary dominant ,

1820-429: Is the septimal diatonic semitone of 15:14 ( play ) available in between the 5 limit major seventh (15:8) and the 7 limit minor seventh / harmonic seventh (7:4). There is also a smaller septimal chromatic semitone of 21:20 ( play ) between a septimal minor seventh and a fifth (21:8) and an octave and a major third (5:2). Both are more rarely used than their 5 limit neighbours, although

1885-541: The Baroque era (1600 to 1750), the tonal harmonic framework was fully formed, and the various musical functions of the semitone were rigorously understood. Later in this period the adoption of well temperaments for instrumental tuning and the more frequent use of enharmonic equivalences increased the ease with which a semitone could be applied. Its function remained similar through the Classical period, and though it

1950-467: The Pythagorean minor semitone . It is about 90.2 cents. It can be thought of as the difference between three octaves and five just fifths , and functions as a diatonic semitone in a Pythagorean tuning . The Pythagorean chromatic semitone has a ratio of 2187/2048 ( play ). It is about 113.7 cents . It may also be called the Pythagorean apotome or the Pythagorean major semitone . ( See Pythagorean interval .) It can be thought of as

2015-419: The diatonic scale . The minor second is abbreviated m2 (or −2 ). Its inversion is the major seventh ( M7 or Ma7 ). Listen to a minor second in equal temperament . Here, middle C is followed by D ♭ , which is a tone 100 cents sharper than C, and then by both tones together. Melodically , this interval is very frequently used, and is of particular importance in cadences . In

B minor - Misplaced Pages Continue

2080-482: The functional harmony . It may also appear in inversions of a major seventh chord , and in many added tone chords . In unusual situations, the minor second can add a great deal of character to the music. For instance, Frédéric Chopin 's Étude Op. 25, No. 5 opens with a melody accompanied by a line that plays fleeting minor seconds. These are used to humorous and whimsical effect, which contrasts with its more lyrical middle section. This eccentric dissonance has earned

2145-412: The minor scale refers to three scale patterns – the natural minor scale (or Aeolian mode ), the harmonic minor scale , and the melodic minor scale (ascending or descending). These scales contain all three notes of a minor triad : the root , a minor third (rather than the major third , as in a major triad or major scale ), and a perfect fifth (rather than the diminished fifth , as in

2210-412: The perfect and deceptive cadences it appears as a resolution of the leading-tone to the tonic . In the plagal cadence , it appears as the falling of the subdominant to the mediant . It also occurs in many forms of the imperfect cadence , wherever the tonic falls to the leading-tone. Harmonically , the interval usually occurs as some form of dissonance or a nonchord tone that is not part of

2275-412: The 6th degree of the C major scale: Because of this, the key of A minor is called the relative minor of C major . Every major key has a relative minor, which starts on the 6th scale degree or step. For instance, since the 6th degree of F major is D, the relative minor of F major is D minor . A natural minor scale can also be constructed by altering a major scale with accidentals . In this way,

2340-410: The 6th degree of the major scale, the tonic of the relative minor is a major sixth above the tonic of the major scale. For instance, B minor is the relative minor of D major because the note B is a major sixth above D. As a result, the key signatures of B minor and D major both have two sharps (F ♯ and C ♯ ). Semitone A semitone , also called a minor second , half step , or

2405-407: The [major] scale ." Play B & C The augmented unison , the interval produced by the augmentation , or widening by one half step, of the perfect unison, does not occur between diatonic scale steps, but instead between a scale step and a chromatic alteration of the same step. It is also called a chromatic semitone . The augmented unison is abbreviated A1 , or aug 1 . Its inversion

2470-532: The break in the circle of fifths that occurs in the tuning system: diatonic semitones derive from a chain of five fifths that does not cross the break, and chromatic semitones come from one that does. The chromatic semitone is usually smaller than the diatonic. In the common quarter-comma meantone , tuned as a cycle of tempered fifths from E ♭ to G ♯ , the chromatic and diatonic semitones are 76.0 and 117.1 cents wide respectively. Extended meantone temperaments with more than 12 notes still retain

2535-435: The diatonic semitone is smaller instead. See Interval (music) § Number for more details about this terminology. In twelve-tone equal temperament all semitones are equal in size (100 cents). In other tuning systems, "semitone" refers to a family of intervals that may vary both in size and name. In Pythagorean tuning , seven semitones out of twelve are diatonic, with ratio 256:243 or 90.2 cents ( Pythagorean limma ), and

2600-442: The difference between four perfect octaves and seven just fifths , and functions as a chromatic semitone in a Pythagorean tuning . The Pythagorean limma and Pythagorean apotome are enharmonic equivalents (chromatic semitones) and only a Pythagorean comma apart, in contrast to diatonic and chromatic semitones in meantone temperament and 5-limit just intonation . A minor second in just intonation typically corresponds to

2665-405: The equal-tempered semitone. To cite a few: For more examples, see Pythagorean and Just systems of tuning below. There are many forms of well temperament , but the characteristic they all share is that their semitones are of an uneven size. Every semitone in a well temperament has its own interval (usually close to the equal-tempered version of 100 cents), and there is no clear distinction between

B minor - Misplaced Pages Continue

2730-539: The example to the right, Liszt had written an E ♭ against an E ♮ in the bass. Here E ♭ was preferred to a D ♯ to make the tone's function clear as part of an F dominant seventh chord, and the augmented unison is the result of superimposing this harmony upon an E pedal point . In addition to this kind of usage, harmonic augmented unisons are frequently written in modern works involving tone clusters , such as Iannis Xenakis ' Evryali for piano solo. The semitone appeared in

2795-512: The first movement of the Death and the Maiden Quartet ). In this role, it is used while descending far more often than while ascending. A familiar example of the descending scale is heard in a Ring of bells . A ring of twelve is sometimes augmented with a 5♯ and 6♭ to make a 10 note harmonic minor scale from bell 2 to bell 11 (for example, Worcester Cathedral). The Hungarian minor scale

2860-407: The former was often implemented by theorist Cowell , while Partch used the latter as part of his 43 tone scale . Under 11 limit tuning, there is a fairly common undecimal neutral second (12:11) ( play ), but it lies on the boundary between the minor and major second (150.6 cents). In just intonation there are infinitely many possibilities for intervals that fall within

2925-408: The harmonic or melodic minor scales. For example, a piece in E minor will have one sharp in its key signature because the E natural minor scale has one sharp (F ♯ ). Major and minor keys that share the same key signature are relative to each other. For instance, F major is the relative major of D minor since both have key signatures with one flat. Since the natural minor scale is built on

2990-476: The interval between them is a semitone. In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones). In music theory , a distinction is made between a diatonic semitone , or minor second (an interval encompassing two different staff positions , e.g. from C to D ♭ ) and

3055-454: The irrational [ sic ] remainder between the perfect fourth and the ditone ( 4 3 / ( 9 8 ) 2 = 256 243 ) {\displaystyle \left({\begin{matrix}{\frac {4}{3}}\end{matrix}}/{{\begin{matrix}({\frac {9}{8}})\end{matrix}}^{2}}={\begin{matrix}{\frac {256}{243}}\end{matrix}}\right)} ." In

3120-518: The key in his St John Passion . By the end of the Baroque era, however, conventional academic views of B minor had shifted: Composer-theorist Francesco Galeazzi (1758–1819) opined that B minor was not suitable for music in good taste. Beethoven labelled a B-minor melodic idea in one of his sketchbooks as a "black key". The scale degree chords of B minor are: Notes Sources Natural minor scale In western classical music theory ,

3185-407: The larger by the syntonic comma (81:80 or 21.5 cents). The smaller and larger chromatic semitones differ from the respective diatonic semitones by the same 128:125 diesis as the above meantone semitones. Finally, while the inner semitones differ by the diaschisma (2048:2025 or 19.6 cents), the outer differ by the greater diesis (648:625 or 62.6 cents). In 7 limit tuning there

3250-438: The minor diatonic semitone is 17:16 or 105.0 cents, and septendecimal limma is 18:17 or 98.95 cents. Though the names diatonic and chromatic are often used for these intervals, their musical function is not the same as the meantone semitones. For instance, 15:14 would usually be written as an augmented unison, functioning as the chromatic counterpart to a diatonic 16:15. These distinctions are highly dependent on

3315-405: The music theory of Greek antiquity as part of a diatonic or chromatic tetrachord , and it has always had a place in the diatonic scales of Western music since. The various modal scales of medieval music theory were all based upon this diatonic pattern of tones and semitones. Though it would later become an integral part of the musical cadence , in the early polyphony of the 11th century this

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3380-489: The musical context, and just intonation is not particularly well suited to chromatic use (diatonic semitone function is more prevalent). 19-tone equal temperament distinguishes between the chromatic and diatonic semitones; in this tuning, the chromatic semitone is one step of the scale ( play 63.2 cents ), and the diatonic semitone is two ( play 126.3 cents ). 31-tone equal temperament also distinguishes between these two intervals, which become 2 and 3 steps of

3445-464: The notes of a natural minor scale follow the sequence below: where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figure). The natural minor scale is maximally even . The harmonic minor scale (or Aeolian ♯ 7 scale) has the same notes as the natural minor scale except that the seventh degree is raised by one semitone , creating an augmented second between

3510-744: The other five are chromatic, with ratio 2187:2048 or 113.7 cents ( Pythagorean apotome ); they differ by the Pythagorean comma of ratio 531441:524288 or 23.5 cents. In quarter-comma meantone , seven of them are diatonic, and 117.1 cents wide, while the other five are chromatic, and 76.0 cents wide; they differ by the lesser diesis of ratio 128:125 or 41.1 cents. 12-tone scales tuned in just intonation typically define three or four kinds of semitones. For instance, Asymmetric five-limit tuning yields chromatic semitones with ratios 25:24 (70.7 cents) and 135:128 (92.2 cents), and diatonic semitones with ratios 16:15 (111.7 cents) and 27:25 (133.2 cents). For further details, see below . The condition of having semitones

3575-555: The piece its nickname: the "wrong note" étude. This kind of usage of the minor second appears in many other works of the Romantic period, such as Modest Mussorgsky 's Ballet of the Unhatched Chicks . More recently, the music to the movie Jaws exemplifies the minor second. In just intonation a 16:15 minor second arises in the C major scale between B & C and E & F, and is "the sharpest dissonance found in

3640-473: The range of the semitone (e.g. the Pythagorean semitones mentioned above), but most of them are impractical. In 13 limit tuning, there is a tridecimal ⁠ 2 / 3 ⁠ tone (13:12 or 138.57 cents) and tridecimal ⁠ 1 / 3 ⁠ tone (27:26 or 65.34 cents). In 17 limit just intonation, the major diatonic semitone is 15:14 or 119.4 cents ( Play ), and

3705-412: The same two semitone sizes, but there is more flexibility for the musician about whether to use an augmented unison or minor second. 31-tone equal temperament is the most flexible of these, which makes an unbroken circle of 31 fifths, allowing the choice of semitone to be made for any pitch. 12-tone equal temperament is a form of meantone tuning in which the diatonic and chromatic semitones are exactly

3770-472: The same, because its circle of fifths has no break. Each semitone is equal to one twelfth of an octave. This is a ratio of 2 (approximately 1.05946), or 100 cents, and is 11.7 cents narrower than the 16:15 ratio (its most common form in just intonation , discussed below ). All diatonic intervals can be expressed as an equivalent number of semitones. For instance a major sixth equals nine semitones. There are many approximations, rational or otherwise, to

3835-512: The scale, respectively. 53-ET has an even closer match to the two semitones with 3 and 5 steps of its scale while 72-ET uses 4 ( play 66.7 cents ) and 7 ( play 116.7 cents ) steps of its scale. In general, because the smaller semitone can be viewed as the difference between a minor third and a major third, and the larger as the difference between a major third and a perfect fourth, tuning systems that closely match those just intervals (6/5, 5/4, and 4/3) will also distinguish between

3900-426: The scale. Traditionally, these two forms are referred to as: The ascending and descending forms of the A melodic minor scale are shown below: The ascending melodic minor scale can be notated as while the descending melodic minor scale is Using these notations, the two melodic minor scales can be built by altering the parallel major scale. The intervals between the notes of an ascending melodic minor scale follow

3965-422: The sequence below: The intervals between the notes of a descending melodic minor scale are the same as those of a descending natural minor scale. Composers have not been consistent in using the two forms of the melodic minor scale. Composers frequently require the lowered 7th degree found in the natural minor in order to avoid the augmented triad (III ) that arises in the ascending form of the scale. Examples of

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4030-403: The sixth and seventh degrees. Thus, a harmonic minor scale is represented by the following notation: A harmonic minor scale can be built by lowering the 3rd and 6th degrees of the parallel major scale by one semitone. Because of this construction, the 7th degree of the harmonic minor scale functions as a leading tone to the tonic because it is a semitone lower than the tonic, rather than

4095-476: The use of melodic minor in rock and popular music include Elton John 's " Sorry Seems to Be the Hardest Word ", which makes, "a nod to the common practice... by the use of F ♯ [the leading tone in G minor] as the penultimate note of the final cadence ." The Beatles ' " Yesterday " also partly uses the melodic minor scale. Other scales with a minor third and a perfect fifth (i.e. containing

4160-401: Was not the case. Guido of Arezzo suggested instead in his Micrologus other alternatives: either proceeding by whole tone from a major second to a unison, or an occursus having two notes at a major third move by contrary motion toward a unison, each having moved a whole tone. "As late as the 13th century the half step was experienced as a problematic interval not easily understood, as

4225-401: Was used more frequently as the language of tonality became more chromatic in the Romantic period, the musical function of the semitone did not change. In the 20th century, however, composers such as Arnold Schoenberg , Béla Bartók , and Igor Stravinsky sought alternatives or extensions of tonal harmony, and found other uses for the semitone. Often the semitone was exploited harmonically as

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