Three scales, a single key
In minor the three forms of the scale are used together, and each provides different chords. In A minor:
- Natural: Am7 Bm7b5 Cmaj7 Dm7 Em7 Fmaj7 G7 (i7 iiø7 IIImaj7 iv7 v7 VImaj7 VII7).
- Harmonic: E7 (V7) and G#°7 (vii°7), plus Am(maj7) and Cmaj7#5.
- Melodic: D7 (IV7, Dorian color), F#m7b5 (viø7), Bm7 (ii7).
The composer chooses case by case: natural v for a modal sound, harmonic V for a clean cadence.
Typical progressions
- i – iv – V7 – i: Am Dm E7 Am (classical cadence).
- i – VI – III – VII: Am F C G (pop and trap).
- Andalusian cadence i – VII – VI – V: Am G F E.
- i – iiø – V – i: Am Bm7b5 E7 Am (minor ii–V–i in jazz).
- i – IV – i: Am D Am (Dorian, funk).
- Picardy third: ending on A major instead of Am, brightens the last bar.
Melody in minor
Over E7 the melody uses G# (not G); over Am it can use G natural. The F–G# step (augmented second) is characteristic but should be used with intention; to rise gently, F#–G# (melodic) is used.
Real example
“Hit the Road Jack” (Ray Charles, 1961) runs entirely on the Andalusian cadence; “Losing My Religion” (R.E.M., 1991) instead alternates Am and Em, that is, the minor v of the natural scale, deliberately avoiding the major dominant: the piece stays suspended and modal.