LutariFan wrote:LoreRD wrote:Learn scales. It will make melody composing so much easier.
This is something I've been meaning to do for a long time, I have no idea why I still haven't.
Let's start with the basics then:
MajorWhite keys on C (C-D-E-F-G-A-B-C). Consists of sequential intervals: whole-whole-half-whole-whole-whole-half. Defining characteristics: major third, major sixth, and major seventh. The major seventh creates a leading tone back to the tonic in ascending melodies. i.e. if you rise from a note to the seventh, the listener will feel a strong pull up to the higher tonic.
Natural minorWhite keys on A (A-B-C-D-E-F-G-A). Consists of sequential intervals: whole-half-whole-whole-half-whole-whole. Defining characteristics: minor third, minor sixth, and minor seventh. Sounds darker (obviously).
Harmonic minorLike the natural minor, but contains a major seventh (in A minor, a G#). Used because, in order to ensure the "finality" of the V-I chord progression at the end of a phrase, the V chord must be a major chord (the major seventh leads to the tonic, remember?).
Melodic minorLike the natural minor, but contains a major seventh
and a major sixth (in A minor, a G# and F#). Generally used in rising melodic lines because the major seventh helps lead to the tonic, but a step-and-a-half between sixth and seventh sounds unmelodic, so the sixth is raised as well.