####

on C and playing in order only the white keys to the next C, you build a C major scale.

w w w w w
w wPercepção & # w w w w
w Escala
The natural minor scale can be thought of as a major scale from the sixth to the sixth

w w w Figure 2.3
degree. maior
w w w
Musical

w w w w ? # # # # w w w w Figure
w w 2.9 w w
Profa. Lourdes Saraiva

# C Major Scale

& w w The Mozart w in Figure 2.12 utilizes the harmonic minor

w excerpt
B major

w w
ƒ

#### # w w w w w
w w w w & # w w w w w Cw D E
w w w w
ence of G-sharps in every measure except 5 and 6.
F G A B C The Mozart excerpt in Figure 2.12 utilizes the harmonic minor s
A Natural Minor Scale ence of G-sharps in every measure except 5 and 6.

w w w w ? #### #
Figure 2.12
w w a familiar carol Mozart:
w w w w # w w w w w1̂Thewexcerpt
w w
2̂ from 5̂ inFigure
Figure 2.127̂employs
2.10 8̂the
= 1̂natural
K. 310,minor scale.

wPresto
3̂ 4̂ 6̂ Sonata
& w w w w Mozart:
in A Minor, III, mm. 1–8.
F # major w j6œ. j7
2 j2 j j 4 œj œ . œ œœ .
Sonata in A Minor, K. 310, III, mm. 1–8.

# ## # œ . œ œ œ œ œ
Figure 2.10
œ . half œ˙ . # œ 3 œ˙ . œ #œ 5 ˙ ˙
1 3 5

& 4 # œ j # .
w w w & # ## w
w step
w step w Jj j j j
œ ˙œ .
w w w w w œœ œ˙ . # œj œ˙ . œ œ.
Presto

w w w w T œ œ œœ # œœ ˙œ .
whole whole half whole whole whole
T 2step œœ .. step
p
1 2 4 6 7

& 4 # # œ
Carol: “God
T step
Rest Ye
ST step
Merry,
T step
Gentlemen” (Refrain).
.
T ST
Figure 2.16 œ3̂ œJ 2̂ 1̂œ œ 3̂ 2̂œ 1̂ œ œœ œœ
4 ? 2 p œ . œ . œ # œ œ œ
# ‰ theœ œ ‰ œ œ ‰ œ œ
3̂ 4̂ 5̂ 6̂ 5̂ 5̂ 4̂
? ## # # & 4 wscale œ CœMajorœ4(groups
w ˙ two tetrachords ‰œ ofœ four ‰ pitches) constructed
‰ ‰œ
w w w w Tetrachord # # w w œ w œincludes œ . œ œ œ by œ .˙œhalf
œ step. œ #œœtwo
œ œ œThe œ œ
w w w w
Scale
w w ? 2 œ
The major with
w ‰ ‰ ‰ ‰ œ ‰ ‰ œ ‰œ
4̂ by a 4
same arrangement of intervals—two whole steps followed a tetra-
C # major
w w
6̂ chords
7̂ of the1̂major scale
2̂ are separated
3̂ 5̂ whole 6̂ step. 7̂ 1̂
w
single
& w Minorw Scale
œ wœ œw œ œ œ œ œ œ
4̂ 3̂ 4̂ 5̂ 6̂ 2̂ 7̂ 1̂ 8̂ 5̂ 4̂ 3̂

The minor scale is another common diatonic scale. It w w material

w& ˙in pitch
Melodic The melodic minor scale appears in both ascending and descendi
œ
is more varied
because there are two different versions of both the sixth and seventh scale degrees. Tradi- Melodic Minor Scale The seventh
and melodicscaleminor scale appears
degrees, producingin both ˙.
half step between the second and third degrees, the ascending form
a halfascending and descendin
step between the seven
tionally, the minor scales have been described as having 1̂three distinct
2̂ forms,3̂but in prac-
4̂ 5̂ 6̂ 7̂ 1̂ 2̂ descending
half
The 3̂
step between the is
form second and as
the same third
thedegrees, the ascending form
natural minor.
tice, composers use all the scale resources of the minor scale within a single composition. andTheseventh
melodic scale degrees,
minor scaleproducing
developeda because
half stepcomposers
between the sevent
liked the
Harmonic
The three traditional forms of the minor scale areMinor The harmonic
called natural, harmonic, minor scale
A melodic.
and Natural Minor hasScale
a raised seventh degree. The added Theimpetus
descendingof a form
raisedis the same as the natural minor.
seventh, but found the step-and-a-half interval between the sixth a
Scale seventh degree gives more melodic thrust toward the tonic. Raising The the melodic
seventh minor
the=harmonic
degreescale developed because composers liked the
CHAPTER
creates 2stepScales, Tonality, Key, Modes half step
steps minor scale too 29 harsh, especiallybetween
for smooth vocal w
Scale The natural minor scale contains seven different pitches with whole stepsaseparating
and aad-
half between the sixth and seventh degrees, and a half
seventh,
melodic
between
but found
passages, theneed
no step-and-a-half
exists for theinterval thecompose
raised seventh, so sixth an

Escala menor:
the seventh and
jacent tones, except for half steps between the second and third degrees and between the eighth degrees. Accidentals used to raise the sevenththedegree do
harmonic not appear
minor scale too harsh, especially for smooth vocal w
natural minor with the lowered seventh and sixth degrees.
fifth and sixth degrees. Its pitches are those of the white keys of theinpiano
the key
fromsignature.
A to A: The pattern of half steps (2̂–3̂, 5̂–6̂, 7̂–8̂) is shown in Figure
melodic 2.11. no need exists for the raised seventh, so composer
passages,
To find the relative major of a minor key, proceed to the third degreenatural of the minor
minor with the lowered seventh and sixth degrees.
scale. This tone is the tonic of the relative major key.
Figure 2.8 Natural Figure 2.11 Harmônica Figure 2.13 Melódica
Figure 2.13
3711_ben01877_ C h02pp27-54.indd 29 4/10/08 3:56:15 PM
Figure 2.17
# # G#
G F G

# #
F

œ œ
3̂ 1̂
œ
&b œ œ œ œ œ œ œ C & b œ Aœ œ œ œ œ
F G A B C D E F G A B A B D E F A B C D E A
A B C D E A

8̂D= Minor Scale Its Relative Major (F)

w
1̂ 2̂ 3̂ 4̂ 5̂ 6̂ 7̂ 1̂
& w & 1̂ 2̂ 3̂w 4̂w 5̂w #6̂w #7̂w 8̂w=1̂ w
1̂ 2̂ 3̂ 4̂ 5̂ 6̂ 7̂ 8̂ = 1̂ 1̂ 2̂ 3̂ 4̂ 5̂ 6̂ 7̂ 8̂ =1̂

w w w w & w w #w
w w w wrelationships
w wthe relative & w and wmi- w w w # w # w w
wwholew half
Figure 2.18 summarizes between all of the major
whole
T half
ST whole
T whole
T SThalf whole whole
Tnor scales.
T
step step step step step step step The T
whole
organizational ST
half
pattern T
whole T
whole ST
half
perpetuating theT
step
major
1/2 ST
half
scale key signatures isTalso
ST whole
T whole
T whole
T T
whole ST
half
present in minor scales. step
Each step
minorstep step isstep
key tonic five and
scale
half
a degrees
step above (or fourstepscale
whole
step step step step step step
half whole whole whole whole half
step step Formastepascendente
step step step step
degrees below) the previous tonic.
& w8̂ =1̂ n w7̂ 33
8̂ =1̂ 7̂ 6̂ 5̂ 4̂ 3̂ 2̂ 1̂
n 6̂w 5̂w
PART A The Fundamentals of Music

w 3̂w 2̂w 1̂w

& w nw nw w
CHAPTER 2 Scales, Tonality, Key, Modes 4̂

Figure 2.18
whole whole half
w
whole wholew halfw whole
w
step step step step step step step
Relative Major and Minor Relationships Forma
whole whole halfdescendente
whole whole half whole
4/10/08 3:56:18 PM
step step step step step step step

Major Relative
3711_ben01877_ Number
C h02pp27-54.indd 33 of Letter Key Signatures and 4/10/08 3:56:19 PM

Names
Minor Sharps or
Flats Estudo dos tetracordes:
34 PART A
Key Notes
The Fundamentals of Music

&
34 PART A The Fundamentals of Music

w w
C a None
tetracordo (del gr. tetra-, “cuatro”, chorde ̄ , “cuerda”). Sucesió n de cuatro notas dentro de un intervalo de cuarta justa. En la teorı́a griega antigua,
tetracordos con intervalos en orden descendente de tono-tono- semitono (como la-sol-fa-mi) se unı́an para formar *modos de ocho notas que, como

#
la *escala moderna, servı́an como base para una composició n meló dica. Los teó ricos medievales adoptaron tambié n varios tetracordos ascendentes

F# & w w
con distribuciones distintas de tonos y semitonos dentro de un intervalo de cuarta justa para la composició n de melodı́as (vé ase tambié n
G e
HEXACORDO). La escala diató 1 Sharp
nica moderna se puede dividir tambié
3711_ben01877_ C h02pp27-54.indd 34
n en dos tetracordos, como do-re-mi-fa, sol-la-si-do.
3711_ben01877_ C h02pp27-54.indd 34

#
& #
Fonte: Latham, Alison. Dicionario Enciclopédico de la Música. Fondo de Cultura Económica.

F #, C #
w w
D b 2 Sharps

ESCALA MENOR ESCALA MENOR ESCALA MENOR
ESCALA MAIOR
NATURAL HARMÔNICA MELÓDICA
NO 1o e no 2o NO 2o
T – T – ST ----- -----
TETRACORDE TETRACORDE
NO 1o NO 1o NO 1o
T – ST – T -----
36 TETRACORDE
PART A The Fundamentals of Music TETRACORDE TETRACORDE
NO 2o
ST – T – T ----- ----- -----
TETRACORDE
NO 2o
ST – T+1/2 - ST ----- ----- -----
TETRACORDE
3711_ben01877_ C h02pp27-54.indd 36 4/10/08 3:56:23 PM
 w w
A Natural Minor Scale

Exemplos:
The excerpt from a familiar carol in Figure 2.10 employs the natural minor scale.

Escala menor natural

Figure 2.10

Carol: “God Rest Ye Merry, Gentlemen” (Refrain).

4
3̂ 4̂ 5̂ 6̂ 5̂ 5̂ 4̂ 3̂ 2̂ 1̂ 3̂ 2̂ 1̂
&4 œ œ ˙ œ œ œ œ œ œ œ œ œ
˙
4̂ 3̂ 4̂ 5̂ 6̂ 7̂ 8̂ 5̂ 4̂ 3̂ 2̂ 1̂
&˙
œ œ œ œ œ œ œ œ œ œ ˙.
The Mozart excerpt in Figure 2.12 utilizes the harmonic minor scale. Notice the pres-
ence of G-sharps in every measure except 5 and 6.
c Minor The harmonic minor scale has a raised seventh degree. The added impetus of a raised
Escala menor
seventh degree gives harmônica
more melodic thrust toward the tonic. Raising the seventh degree
creates a step and a half between the sixth and seventh degrees, and a half step between
Figure 2.12
the seventh and eighth degrees. Accidentals used to raise the seventh degree do not appear
in the key signature. The pattern of half steps (2̂–3̂, 5̂–6̂, 7̂–8̂) is shown in Figure 2.11.
Mozart: Sonata in A Minor, K. 310, III, mm. 1–8.
The excerpt in Figure 2.14 includes the ascending and descending forms of the melodic

j2 j 4 œj j6œ. j7 j8
j œ
Presto
. œ.
minor scale.
2 œ
Figure 12.11
œ .
œ . # œœ œ˙ . # œ œ˙ . œ
œ œ # œœ ˙ œ ˙ œœ œj# œœ œ
3 5

& 4 # œ. J œ
J
p
.14

elody: “Schwing’ dich auf zu deinemœ Gott,” # God”), mm.œ 5–12 (transposed).
œœ œœ œ
G

œ œ (“Soarœ œ œ œ œ # œ œ œœ
? 42 ‰ . ‰ . ‰ ‰ œ ‰ œ ‰ œ ‰œ œ œ
Upward to Thy

The excerpt in Figure 2.14 includes the ascending and descending forms of the melodic
A B C D E F A

U̇ U U U
1̂ 2̂ 3̂ 1̂ 2̂ 7̂ 7̂ 7̂ 6̂ 5̂ 4̂ 5̂ minor
3̂ scale.
3̂ 2̂ 2̂ 1̂ 2̂ 7̂ 5̂ 6̂ 7̂ 1̂ 1̂ 7̂ 1̂

œ œ œ œ Escalaœ 1̂œ Minor

œ 2̂œ œScale œ œ œ # ˙appears #inœ both
œ œminorœ scale # œ œascending
œ # œ and
˙ descending form. Besides the
˙3̂ ˙ 4̂The 8̂ = 1̂œ
Melodic Menor melódica
Figure 2.14 melodic

w Upward
5̂ 6̂ 7̂
& Melody: “Schwing’ #Gott,”
w (“Soar
w degrees,
w zu deinem
w w w wThe auf
half step between the second and third degrees, the ascending form includes raised sixth
Chorale and seventh
dich scale producing a half step God”),
to Thy betweenmm.
the 5–12
seventh and eighth degrees.
(transposed).
descending form is the same as the natural minor.
An examination of music literature, especially
The melodic vocal
minor anddeveloped
scale choral, reveals thatcomposers
because composersliked the urgency of the raised
whole
consider the halfharmonic,
natural, whole whole half minors
and melodic step half
as arrangementsinterval
of the same scale,

U
step step step seventh, but found
step step and a step the step-and-a-half between the sixth and seventh degrees of

U̇ U U
1̂ 5̂form
with each 1̂ to2̂ be 3̂used
1̂ according
2̂ the harmonic
7̂ to
7̂ need.
7̂ minor
6̂half
5̂ 4̂scale
This 5̂too by
excerpt 3̂Bach
harsh, 3̂especially
2̂ 2̂ the
utilizes 1̂for 2̂various
7̂ vocal
smooth 5̂ 6̂writing.
7̂ 1̂ In1̂descending
7̂ 1̂

&œ œ œ œ œ œ naturalœ minor œ œ œ œ œ

œ œ with ˙ seventh and sixthœdegrees.
#˙ œ #œ #œ œ œ #œ ˙
forms of the A minor scale in amelodic single phrase of music:
œ the lowered
2 Scales, Tonality, Key, Modesœ ˙
passages, no need exists for the raised seventh, so composers most often used the

CHAPTER 33
Figure 2.15
Figure 2.13
An examination
Bach: “Herr Jesu Christ, du höchstes Gut” (“LordofJesus
music literature,
Christ, Thouespecially vocal and choral, reveals that composers
Highest Good”),
consider
BWV 113, mm. 1–2 (transposed). the natural, harmonic, and melodic minors as arrangements of the same scale,

U
with each form to be used according to need. This excerpt by Bach utilizes the various
# #
œœ
F ofG music:

& c œœ œœ œœ # œœ # œ # œœ œœ
forms of the A minor scale in a single phrase
# œœ
4/10/08 3:56:19 PM

j
œ œ. œ Aœ
Figure 2.15 A B C D E
œœ œ œ œ œ œ
?c œ Bach: œ “Herr
œ Jesuœ Christ,
œ du höchstes
œ œ 6̂ œ7̂ 8̂ =1̂
Gut” (“Lord Jesus Christ, Thou Highest Good”),
BWV 113, mm. 1–2 (transposed).

w U
1̂ 2̂ 3̂ 4̂ 5̂
Natural or
& w w # w # w œ
& wc œœ w wœœ œœ # œœ # œ œ # œœ
Ascending
Descending
Melodic Minor
Melodic Minor
# œœ
Harmonic Minor
œœ
. j
œ
whole half whole whole whole whole half
œ œ œ œ œ
? 8̂c=1̂œ 7̂ œ 6̂œ œ5̂ œœ 4̂ œ 3̂œ 2̂ 1̂
AœMelodic Minor
ral Minor or step step step step step step step
odic Minor (descending) A Harmonic Minor (ascending)

w œ œ œ
w w w w w w w w
& w # w n ww n w w w w #w #w w œ
w w Natural or w
ww w w w
Ascending w
 Figure 2.18
ESCALAS MAIORES E SUAS RELATIVAS MENORES:
Relative Major and Minor Relationships

Major Relative Number of Letter Key Signatures and

Minor Sharps or Names Key Notes
Flats
C a None & w w
#
G e 1 Sharp F# & w w
Relative Major and Minor Relationships
#
Major
D Relative
b
Minor
Number of
2 Sharps
Sharps or
F #, C #
Letter
Names
& #
Key Signatures and
Key Notes w w
# #
Flats

A f# 3 Sharps F #, C #, G # & #
& w aw

# ##
E c# 4 Sharps F #, C #, G #, D # & # w aw
36 PART A The Fundamentals of Music

## bb
B = Cb g# = a b F #, C #, G #, D #, A # & # ## & b b bbb A w
w aw
5 Sharps
B b, E b, A b, D b, G b, C b, F b
Aw
=
7 Flats

## # bb
F# = G b d# = e b F #, C #, G #, D #, A #, E # & # ## a w a w & b b bb A w A w
3711_ben01877_ C h02pp27-54.indd 36 4/10/08 3:56:23 PM

6 Sharps
B b, E b, A b, D b, G b, C b
=
6 Flats

# ## # b
C# = D b a# = b b F #, C #, G #, D #, A #, E #, B # & # # #a w & b bbb A w
Aw
7 Sharps
B b, E b, A b, D b, G b
aw
=
5 Flats

bb
Ab f 4 Flats B b, E b, A b, D b & b b Aw w

b
Eb c 3 Flats B b, E b, A b &bb Aw w

b
Bb g 2 Flats B b, E b &b Aw w

F d 1 Flat Bb &b w w

REFERÊNCIA:
Circle of Fifths Another way to visualize the relationship between the major scales and their relative mi-
nors is with the circle of fi fths (Figure 2.19). All of the key signatures are given within the
Benward,Bruce & Saker, Marilyn.Music
circle. The major in Theory
scale tonics are listed outside the perimeterand
of the Practice.
circle. The relative Boston: Higher Education,
2009. minors appear within the inner circle.

Estudar os seguintes solfejos (vide material, pasta “Escala Menor”no Moodle):

A uma voz: Solfejo, B. Med.

CHAPTER 2 Scales, Tonality, Key, Modes 37
Os 3 capítulos AULA 16 – ESCALA NATURAL(PRIMITIVA), AULA 18 ESCALA HARMÔNICA, AULA 19,
ESCALA MELÓDICA.
A duas vozes: Berkowitz – Sing and play
duetos: 9;10;12a;12b;15;16;17;19;21;22a;22b;23a;23b; 29a;29b;27a;27b
en01877_ C h02pp27-54.indd 37 4/10/08 3:56:24 PM