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Jazz Theory and Practice

Module 1, a, b, c:

Tetrachords and Scales

C. The Minor Scale Family

As with the major scale family, if we start with the Natural Minor scale, there are two other scales (Dorian, Phrygian) in the table of modes

that are similar, with only one “wrong note”:

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The Phrygian Major (also called the Spanish Scale, or the Jewish Scale) is not really part of the minor scale family, but is included here to

show how changing one note can completely change the character of a scale. The raised 3rd step definitely switches the character to major,

but another distinctive character is created by two major chords, a half step apart, that emerge at the bottom of the scale. There are actually

hundreds of different scales that are part of the jazz language, and many of them are simply another scale with one note changed. Both

versions of the Phrygian scale are often described as having a “dark” character, because of the half-step at the bottom of the Phrygian and

Harmonic tetrachords. Musical examples for both these scales will be found in the “something to listen to” at the end of this text.

Copyright © 2015 Peter J. Clements

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Generally, in the jazz repertoire, the Dorian scale is found much

more frequently than the Phrygian scale. There are a number of folksongs in the Dorian mode, but most often they are written in the

same key signature as the minor scale that uses the same tonic note. Look at the following example:

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Although it’s written in the key signature for D minor, the B natural in the 7th bar makes it clearly Dorian. The complete version of the tune

appears in the SING/PLAY section to follow.

In traditional music theory we study two alternate versions of the

natural minor scale; the Harmonic minor and the Melodic minor, which has both an ascending a descending version:

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In jazz repertoire these two versions of the minor scale are not often used, but there is a version of the minor scale called the Jazz Melodic Minor, which is simply the ascending version of the melodic minor, above, but with the same notes in both directions. Compare it with

the Dorian scale, and notice that it only differs by one note:

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The minor pentatonic scale was shown briefly in module 1a, as the combination of two minor trichords:

1c5 The scale above could also be found by starting with a d natural minor scale, and omitting the 2nd and 6th notes:

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It can also be related to the major pentatonic scale… just by shifting

back by one note:

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As was noted in Module 1a, a chromatic note inserted into the middle

of the minor pentatonic scale produces a blues scale; both scales are favourites in blues, jazz, gospel, and pop music.

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Something to listen to:

Theolonius Monk: “Bemsha Swing”. The tune is pure Phrygian,

although the ¯2nd step is only passed through quickly once in the

melody. It appears often in the harmony.

Chick Corea: “Señor Mouse”. Phrygian-major scale. There are many

good performances on YouTube; typically there is a long introduction before you hear the melody descending through the scale.

“Bag’s Groove” (various artists). The “head” is pure minor pentatonic.

Horace Silver: “Song for my Father”. Natural minor.

Herbie Hancock: “Maiden Voyage”. Dorian.

Miles Davis: both “Milestones” and “So What” use alternating dorian scales.

The Beatles: “Eleanor Rigby”, also dorian. Return to the menu, and try the PLAY/SING and WRITE exercises for

Module 1c.