The natural minor scale
Lesson time: (2min 32sec)
Tim Richards looks at the natural minor scale and how dominant-seventh resolutions work in minor keys, using St James Infirmary in D minor as an example.
Course preview
This lesson is part of the course Jazz Piano: Harmony & Improvisation
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Lesson transcript:
Understanding Minor Keys: A Quick Overview
In this lesson, we're going to have a quick look at minor keys.
The Dominant Sevenths and Resolutions
- Dominant sevenths can resolve to either a major chord or a minor chord.
- Example: V to I can resolve to a minor triad or an A minor seventh chord.
- An example of this is in the tune St. James Infirmary.
Quick Rendition:
-
Here is a single-note rendition demonstrating this:
There's your perfect cadence with an A7 resolving to D minor.
The Role of the F Note
You may ask, "Why have I got an F note over the A7 chord?"
That's actually the sharp 5. It's important to note that:
- We are in the key of D minor.
- F is a really important note in D minor.
In fact, the melody notes come from the relative minor of F major.
Connection Between D Minor and F Major
- D minor and F major are both connected:
- F is the relative major.
- Conversely, D minor is the relative minor, a tone and a half down.
Generating the Natural Minor Scale
If we play the scale of F starting on D, that's one way of generating a minor scale known as a natural minor scale.
- It is exactly the same as F major but starts on D.
- You've got the B flat at the top there.
Chords in the Natural Minor Scale
Now, if you look at the chords in that scale on the 2:
- We get the E half diminished chord, which is on the second note of the minor scale.
- This chord is also the seventh note of the major scale.
Key Takeaway:
- Remember that seven chords in major scales are always half diminished chords.
Sequence in D Minor
In a minor key like D minor, the A2, 5, 1 sequence will be:
- E half diminished (ii chord)
- A7 (V chord, dominant)
- D minor or D minor 7 (I chord)
Thus, all three chords come from this natural minor scale.
About the instructor
Critically acclaimed jazz pianist and composer Tim Richards is one of Britain’s most experienced jazz educators, teaching piano privately for over 30 years, as well as at Morley College, Goldsmiths College, the University of Surrey, Premises Studios and other venues in the UK and abroad. He has produced numerous titles for Schott Music, including the best-selling two-volume Exploring Jazz Piano, Blues, Boogie & Gospel Collection and the acclaimed Improvising Blues Piano. He is also co-author, with John Crawford, of Exploring Latin Piano and Brazilian Piano Collection.More recently Schott have published Jazz, Latin & Modern Collection (15 pieces for solo piano), comprising Tim Richards originals alongside pieces by Duke Ellington and Thelonious Monk, and the two volume set Beginning Jazz Piano (now a two-part MusicGurus course).“The real joy of Tim’s music… is that it is both hugely educational but also such great fun to play. Anyone with the slightest interest in learning to play or teach jazz piano should really acquire a set of Tim’s books.” PianoDaoAs a performer Tim has been a presence on the UK jazz scene since the 1980s, also playing the blues with UK and US legends such as Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker and Mojo Buford. He has released over a dozen albums as a leader (featuring many of London’s best jazz musicians including Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce and many others), and toured all over Europe with line-ups ranging from duo to nine-piece. His latest recording, the album ‘Telegraph Hill’ by the six-piece Hextet, was described in The Observer as "A true joy from beginning to end". More info can be found on his website www.timrichards.ndo.co.uk read more