Learn The Relative Minor

[mambo4]

I notate a D Dorian piece for example with no accidentals because it is a tonality on its own but some prefer to notate it with a b flat.

I suppose the 'correct' approach is situational.
If you are reading the notation directly - the dots and beams - how you indicate the key signature matters less.
But if you're creating a chord chart or lead sheet, where some players (bassists) are expected to support the tonality with an improvised line, my preference would be to use that B flat in the key sig to more clearly indicate that "D minor -ness" of the piece.

 

[Les Fret]

I suppose the 'correct' approach is situational.
If you are reading the notation directly - the dots and beams - how you indicate the key signature matters less.
But if you're creating a chord chart or lead sheet, where some players (bassists) are expected to support the tonality with an improvised line, my preference would be to use that B flat in the key sig to more clearly indicate that "D minor -ness" of the piece.

I totally understand what you are saying. But in modal pieces Dorian is a tonality. If you notate a D Dorian funk progression II-V (Dm7-G7) for example, it doesn't make sense to notate it in D minor with 1 flat. But I know many people do so. You see both ways of notating modal pieces. Both are correct. Most lead sheets of So What (D dorian) are notated without the flat.

 

[brianrost]

The key of Dm (based on dorian) would also have no accidental in the key sig, and thus is a relative minor of C.

Sorry, D dorian isn’t in the key of Dm, it’s in the key of C. That’s why it’s a mode

The three minor scales are natural, harmonic and melodic. All three share the same notes when descending the sale, but different 6th and 7th degrees when ascending. The proper key signature is one flat, Bb. The altered 6th and 7th degrees when ascending are written as accidentals.

D dorian mode
D E F G A B C

D natural minor scale
D E F G A Bb C

D harmonic minor scale

D E F G A Bb C#

D melodic minor scale
D E F G A B C#

Anyway, as noted, the relative minor is the minor key three half steps below a major key.

The relative major is the major key three half steps above a minor key.

Once you understand the relative minor you will be able to compose trance music

 

[dreamadream99]

Key signatures were not developed to indicate tonality, although they often do. They were developed as a shortcut to make the copyist’s job easier. If most of the B’s and E’s in a piece are flat, it is easier for a copyist to put those once in the Key signature, rather than in every subsequent measure.

It should be noted however, that some arrangers choose a blank Key signature (the Key of C), then indicate every flat and sharp with an accidental. This was a especially helpful in modern 12 tone pieces, where there was no single tonality.

 

[factory presets]

TBH, at this point in time the best way is to study/analyse/deconstruct music or songs written in the minor keys. Get inside the melodies, write out and codify the harmonies including the bass 'parts' (Roman Numeral analysis is best here), then the solos. Without knowing the type/genres of music that float your boat it is impossible to recommend anything.

Thanks for your answer. A little more reearch makes me think I might have asked the wrong question. Find myself relearning my technique to accommodate double thumbing and the damping that goes along with it. I thought I'd use that to fill in some gaps, rather than just rehash old major scale exercises. As per your advice, learning songs around the clock would probably use the same techniques as running lots of finger exercises. Thanks again for the advice.

 

[SteveCS]

...Sorry, D dorian isn’t in the key of Dm, it’s in the key of C.
...

Dorian isn't "in the key of" anything - it is a mode in it's own right. The key signiature means nothing other than an indication of the notes used - it makes no inference as to any other tonality or relationship with anything beyond that.

...
You see both ways of notating modal pieces. Both are correct.
...

Both might be common and/or popular, but under normal circumstances I would not consider notating D Dorian with a D minor signature to be 'correct'. Dorian is neither Major nor Minor.

YMMV

 

[Les Fret]

Both might be common and/or popular, but under normal circumstances I would not consider notating D Dorian with a D minor signature to be 'correct'. Dorian is neither Major nor Minor.

YMMV

I agree with you I never notate the Bb for D Dorian. For me that’s the correct But you see many people do so.

 

[MuseChaser]

A couple thoughts...

First, concerning true minor scales (natural/Aeolian, harmonic, and melodic), here's a good, easy way to keep them straight, and helps explains the names of each.

1. "Natural" minor, also called the Aeolian scale/mode - This will be redundant to what has already been clear said, but stick with me - It's derived by starting on the sixth note of it's relative major scale. As an example, in the key of Bb major, G would be the sixth note. If we play from G to G, using the key signature of Bb major (Bb and Eb), we are playing a G natural minor scale, and in the "key" of G minor. NO alterations or accidentals, naturally. Hence.. the "natural" minor scale.

However, as we play this scale, we notice a lack of sense of resolution or repose/resting spots within the scale, and especially miss any sense of resolution between the 7th and tonic at top.. the whole step between F and G. This makes for very weak-sounding melodies... soooo....

2. The "Melodic Minor" - Let's make some changes and strengthen that melody! G - A - Bb- C - D... OK, so far so good, sounds like we're going someplace... then, half step to Eb..hmm... sounds like we should head back down, ... let's make it a whole step to E natural and keep climbing the scale stairs... yes!... now.. wait.. dang.. we're now a half step to the next note, F. Urg... weak again.. Let's make THAT a whole step, too, up to F#... YEAH... and then we have a REALLY strong resolution to G up top! Perfect! But wait.. if we head back down the same way, we end up sound way too much like a major scale, and I miss the downward "pull" of the F natural and Eb. Let's put it back to normal ("natural") minor on the way down. YES!!! Strong melodies in both directions... Ladies and Gentlemen, I present... the MELODIC minor scale...

G, A, Bb, C, D, E, F#, G , then down F, Eb, D, C, Bb, A, G. In other words, in relation to the correct key sigature, we raise the sixth and seventh notes a half step ascending, and play the natural minor/unaltered scale on the way down.

3. The Harmonic Minor - This explanation would take a long time to type out completely, so I'm going to sort of cut to the chase. Short version; the chords constructed on each note of the natural minor scale result in a lack of a dominant V chord, which weakens the "harmony" of the scale... we have no chord with a strong "pull" back to the I ("One") chord. If we raise the seventh note of the natural minor scale, that turns the V chord into a dominant chord, which really strengthens the harmony. Hence... "Harmonic Minor."

Long explanation... If we stack seventh chords based upon each note of the natural minor scale in G minor, we get the following chord qualities;
i - G, Bb, D, F - minor seven chord
ii - A, C, Eb, G - half diminished chord
III - Bb, D, F, A - major seven chord
iv - C, Eb, G, Bb - minor seven chord
v - D, F, A, C - minor seven chord
VI - Eb, G, Bb, D - major seven chord
VII - F, A, C, Eb - dominant seven chord

As you can see, hopefully, that's messed up. The minor v chord goes nowhere, and can sound either like its own key center, or as maybe a pull towards a G7 and eventually C major7, which both do nothing to cement us in the key of G minor. The VII chord is now an F7, which wants to resolve to a Bb major, which is the III chord above. That's the strongest pull within this chord set, and why they all want to draw us back into Bb major. SOooo... harmony based upon the natural minor scale is weak sauce. Let's raise the seventh note from F to F# and see what happens...

i - G, Bb, D, F# - minor chord with a major seventh (a "minor major seven" chord). At first hearing, it might sound a little weird, but unlike a standard minor seven chord, it has very little pull towards another chord... one can happily sit on it and enjoy it's sound. Home base. Tonic.
ii - A, C, Eb, G - still half diminished. Has a strong pull to a V7 chord with a flat ninth.
III - Bb, D, F#, A - augmented major seventh. The augmented fifth ruins any feeling of "Hey, this could be tonic." GOOD!
iv - C, Eb, G, Bb - minor 7. Good quality for the IV chord.. sort of a secondary resting place within the key, but not resting enough to make one stay there and not return to tonic eventually. Think the same role as a IV chord in the blues.
V- D, F#, A, C - DOMINANT 7!!! YAY!!! Very strong pull back to the I ("One") chord. As an added plus, if we continue stacking thirds, the 9th of the chord would be Eb, the flat ninth of D. That's why in minor keys the V chord is so often a flat ninth.
VI - Eb, G, Bb, D - major 7. Yes, that can sound a like a tonic/resting place chord, BUT... in these chords, there's no V7 (Bb7) chord TO Eb major 7, so it stands by itself and is weakened as a stopping point without an associated dominant.
vii - F#, A, C, Eb - full diminished. Really, the same chord as a D7b9 (the V chord in this key), only without the D in the bass. No resting here, and pulls to the G minor major 7 "one" chord, too, just not as strongly as the V chord does.

Soooo... the harmonies are MUCH stronger when based upon the Harmonic Minor scale. Ladies and Gentlement, I present, the G Harmonic Minor scale...

G, A, Bb, C, D, Eb, F#, G (and the same on the way down).

Compared to the natural minor scale, the only difference is the 7th note raised a half step.. but what a difference to the harmonic structure that one change makes!

For the sake of our story, some slight shifts in correct terminology and artistic licenses may have been employed in the illustration of authenticated principles and to aid comprehension.