Minor scales share key signatures with major scales. If you’re not familiar with key signatures that’s ok – I will cover that in a future video. For this lesson, we will use the C major scale which has no sharps or flats and discuss the relative minor. Once you are familiar with major scales, finding the relative minor will be very simple.
So for the C major scale you have the following sequence of notes: C D E F G A B C. So this scale has no sharps or flats and the relative minor scale has no sharps or flats either. So what would be the difference between the two? Well the minor scale actually starts on the 6th note of the major scale (A). So an A natural minor scale has A B C D E F G A.
Now there are a couple of different minor scales. In the harmonic minor scale, the 7th note is raised by a half-step. So in the example of A minor scale, if you were playing an A harmonic minor scale, the seventh note would go from G to G#, or A B C D E F G# A.
Another form of the minor scale is the melodic, which has a raised 6th and 7th. Generally though, this scale only goes up and when it comes down it reverts to the natural minor scale with no altered tones. So for A minor it would be. A B C D E F# G# A And descending: A G F E D C B A.
Something you might notice is that if you take a melodic minor scale and raise the third note, it would actually become the a major scale! (This is the parallel minor since you are starting on the same note, not a 6th away as in the relative minor.)
This is pretty much everything you would need to know about minor scales. Please keep watching these videos as we will be covering other scales and modes used from music from antiquity through jazz. If you have any questions or comments please feel free to contact me directly Robert Estrin Robert@LivingPianos.com (949) 244-3729
Welcome to my ongoing series on music theory. Last week we covered Major Scales and how they are simply a series of half-steps and whole-steps. This week I will explain Relative Minor Scales – which are a bit more complex than their major scale cou
I’m Robert Estrin. Welcome to LivingPianos.com. In this second excerpt from my interview with Zsolt Bognár, I share the journey that led to the creation of Living Pianos—how a lifelong passion for performance, teaching, and technology came t
I’m Robert Estrin. Welcome to LivingPianos.com. Today I want to share something truly exciting with you—something I use every day in my own musical life. If you’ve seen my videos, you’ve probably noticed I often read music on my i
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Let me know if you have any questions or want to explore more about how these chords pop up in actual music examples—I’m always happy to help!
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Welcome to LivingPianos.com! I’m Robert Estrin. Today, we’re diving into the most deceptive chord in music: the augmented sixth chord. Now, if you’re like many people, you might have heard of it but don’t really know why it
Welcome to LivingPianos.com. Robert Estrin here with one of the most fundamental aspects of music and harmony: what is an inversion? In a recent video, I explained triads, the most fundamental chord. I have a future video about seventh chords and expanded chords. But first, let’s delve into inversions.
The Concept of Inversions
In 1722, John Philipp Rameau first articulated that chords can be inverted. But what does this mean? Sometimes you see chords with different intervals, but Rameau stated that all chords are built upon the interval of the third. If it’s not a third, it’s an inversion.
Let’s take a C major triad: C, E, G. What happens if you put the E on the bottom? Now you don’t have thirds. Instead, you have a third (E to G) and a fourth (G to C). This new arrangement is the first inversion.
Identifying Inversions in Music
These inversions are identified differently in harmonic analysis and sheet music. If you invert the chord again, with G on the bottom, you get a fourth (G to C) and a third (C to E), creating a second inversion of the C major triad.
In sheet music, these would be labeled simply:
C major: C
First inversion: C/E
Second inversion: C/G
In harmonic analysis, it’s more detailed:
Root position: C major
First inversion: C major 6 (or 6/3)
Second inversion: C major 6/4
Seventh Chords and Their Inversions
Seventh chords are a bit more complex due to having four notes. For example, a G7 chord (G, B, D, F) in C major:
Root position: G7 First inversion: G7/B Second inversion: G7/D Third inversion: G7/F
In harmonic analysis:
Root position: G7 (or 7) First inversion: G7 6/5 Second inversion: G7 4/3 Third inversion: G7 4/2
Remember, these notations reflect the intervals:
6/5: a sixth and a fifth above the bass note 4/3: a fourth and a third above the bass note 4/2: a fourth and a second above the bass note
Practical Application
Understanding inversions helps in harmonic analysis and playing from lead sheets. For example, a dominant seventh chord, the most popular type, is assumed when you see a notation like G7 without further specification.
Conclusion
Inversions are essential in understanding chord functions. All seventh chords can be inverted and named in the same way, whether they are major, minor, or diminished. You can identify the root of the chord by arranging notes in thirds, giving you insight into chord function and resolution.
I hope you enjoyed this music theory primer. Let us know in the comments if these videos are helpful. This is LivingPianos.com, your online piano store. Thanks for joining me!
For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin
Contact me if you are interested in private lessons. I have many resources for you!Robert@LivingPianos.com
Welcome to LivingPianos.com. Robert Estrin here with one of the most fundamental aspects of music and harmony: what is an inversion? In a recent video, I explained triads, the most fundamental chord. I have a future video about seventh chords and exp