Why are both D and D# fitting into my E minor key? Announcing the arrival of Valued Associate...
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Why are both D and D# fitting into my E minor key?
Announcing the arrival of Valued Associate #679: Cesar Manara
Planned maintenance scheduled April 17/18, 2019 at 00:00UTC (8:00pm US/Eastern)Understanding minor key harmonyDefinition of minor keyWhy are the harmonic and melodic minor scales called what they are?Why does the melodic minor scale turn into natural minor when descending?Minor key and its chordsWhy does minor scale and minor chord differ in degrees?When playing in a minor key, is it common to switch between the different minor scales?Why are Ionian and Aeolian considered Major and Minor keys respectively, but not the other modes?Being limited to the natural minor/major, relative minor/major and parallel keyWhich key are these notes and how to transpose it to the key of D?
I tried to look around for an answer to this problem but don't know how to ask the proper question in a search engine. I've been working on a song and realized recently that while I had been working on the song in the key of Em (E, F#, G, A, B, C, D) I had accidentally placed D# notes in several of my melodies. The confusing part is it sounds fine and I didn't even notice until I looked closer. What's more, if I change them to D it sounds off key and if I change them to E it just sounds wrong for what the melody is supposed to be doing. I don't have much music theory knowledge but this confused what I thought I knew. Am I misunderstanding something here? Any help and clarification would be appreciated.
scales key
asked 1 hour ago
BenBen
211
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add a comment |
I tried to look around for an answer to this problem but don't know how to ask the proper question in a search engine. I've been working on a song and realized recently that while I had been working on the song in the key of Em (E, F#, G, A, B, C, D) I had accidentally placed D# notes in several of my melodies. The confusing part is it sounds fine and I didn't even notice until I looked closer. What's more, if I change them to D it sounds off key and if I change them to E it just sounds wrong for what the melody is supposed to be doing. I don't have much music theory knowledge but this confused what I thought I knew. Am I misunderstanding something here? Any help and clarification would be appreciated.
scales key
asked 1 hour ago
BenBen
211
New contributor
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
1
Not-so-random question: do the D sharps tend to occur when the melody is going upward, and the D naturals when it is going down? Alternatively, if you have harmonies, or chords, worked out, do you notice certain chords attracting the D naturals and others the D sharps?
– replete
1 hour ago
add a comment |
I tried to look around for an answer to this problem but don't know how to ask the proper question in a search engine. I've been working on a song and realized recently that while I had been working on the song in the key of Em (E, F#, G, A, B, C, D) I had accidentally placed D# notes in several of my melodies. The confusing part is it sounds fine and I didn't even notice until I looked closer. What's more, if I change them to D it sounds off key and if I change them to E it just sounds wrong for what the melody is supposed to be doing. I don't have much music theory knowledge but this confused what I thought I knew. Am I misunderstanding something here? Any help and clarification would be appreciated.
scales key
asked 1 hour ago
BenBen
211
New contributor
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
I tried to look around for an answer to this problem but don't know how to ask the proper question in a search engine. I've been working on a song and realized recently that while I had been working on the song in the key of Em (E, F#, G, A, B, C, D) I had accidentally placed D# notes in several of my melodies. The confusing part is it sounds fine and I didn't even notice until I looked closer. What's more, if I change them to D it sounds off key and if I change them to E it just sounds wrong for what the melody is supposed to be doing. I don't have much music theory knowledge but this confused what I thought I knew. Am I misunderstanding something here? Any help and clarification would be appreciated.
scales key
scales key
asked 1 hour ago
BenBen
211
New contributor
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 1 hour ago
BenBen
211
New contributor
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 1 hour ago
BenBen
211
New contributor
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 1 hour ago
BenBen
211
asked 1 hour ago
BenBen
211
211
New contributor
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Ben is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
1
Not-so-random question: do the D sharps tend to occur when the melody is going upward, and the D naturals when it is going down? Alternatively, if you have harmonies, or chords, worked out, do you notice certain chords attracting the D naturals and others the D sharps?
– replete
1 hour ago
add a comment |
1
Not-so-random question: do the D sharps tend to occur when the melody is going upward, and the D naturals when it is going down? Alternatively, if you have harmonies, or chords, worked out, do you notice certain chords attracting the D naturals and others the D sharps?
– replete
1 hour ago
1
1
Not-so-random question: do the D sharps tend to occur when the melody is going upward, and the D naturals when it is going down? Alternatively, if you have harmonies, or chords, worked out, do you notice certain chords attracting the D naturals and others the D sharps?
– replete
1 hour ago
Not-so-random question: do the D sharps tend to occur when the melody is going upward, and the D naturals when it is going down? Alternatively, if you have harmonies, or chords, worked out, do you notice certain chords attracting the D naturals and others the D sharps?
– replete
1 hour ago
add a comment |
2 Answers
2
active
oldest
votes
D# makes a nice lower neighbor to E. Likewise, in E-minor, the dominant (B) often has its third raised at cadence points. Minor keys (at least in classical theory) have two mutable notes; scale steps 6 and 7 may be raised to make voice leading smoother or just because it sounds good.
answered 1 hour ago
ttwttw
9,4821033
add a comment |
Your confusion is understandable because you have the choice of using one, or a combination, of three minor scales: the natural minor, the harmonic minor or the melodic minor. In using a D# you have strayed from the natural minor scale to the melodic minor scale, and this scale has worked for you.
The natural minor scale flattens the 3rd, 6th and 7th degrees of the parallel major scale. The harmonic minor scale flattens the 3rd and 6th. The melodic minor (ascending) only flattens the 3rd, but when descending it is identical to the natural minor, flattening the 3rd, 6th and 7th. The jazz melodic minor just flattens the 3rd, ascending and descending.
These scales are all legitimate minor scales (there are others too). At present you seem to prefer that semitone sound between D# and E, and that's fine.
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
add a comment |
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2 Answers
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2 Answers
2
active
oldest
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D# makes a nice lower neighbor to E. Likewise, in E-minor, the dominant (B) often has its third raised at cadence points. Minor keys (at least in classical theory) have two mutable notes; scale steps 6 and 7 may be raised to make voice leading smoother or just because it sounds good.
answered 1 hour ago
ttwttw
9,4821033
add a comment |
D# makes a nice lower neighbor to E. Likewise, in E-minor, the dominant (B) often has its third raised at cadence points. Minor keys (at least in classical theory) have two mutable notes; scale steps 6 and 7 may be raised to make voice leading smoother or just because it sounds good.
answered 1 hour ago
ttwttw
9,4821033
add a comment |
D# makes a nice lower neighbor to E. Likewise, in E-minor, the dominant (B) often has its third raised at cadence points. Minor keys (at least in classical theory) have two mutable notes; scale steps 6 and 7 may be raised to make voice leading smoother or just because it sounds good.
answered 1 hour ago
ttwttw
9,4821033
D# makes a nice lower neighbor to E. Likewise, in E-minor, the dominant (B) often has its third raised at cadence points. Minor keys (at least in classical theory) have two mutable notes; scale steps 6 and 7 may be raised to make voice leading smoother or just because it sounds good.
answered 1 hour ago
ttwttw
9,4821033
answered 1 hour ago
ttwttw
9,4821033
answered 1 hour ago
ttwttw
9,4821033
answered 1 hour ago
ttwttw
9,4821033
9,4821033
add a comment |
add a comment |
Your confusion is understandable because you have the choice of using one, or a combination, of three minor scales: the natural minor, the harmonic minor or the melodic minor. In using a D# you have strayed from the natural minor scale to the melodic minor scale, and this scale has worked for you.
The natural minor scale flattens the 3rd, 6th and 7th degrees of the parallel major scale. The harmonic minor scale flattens the 3rd and 6th. The melodic minor (ascending) only flattens the 3rd, but when descending it is identical to the natural minor, flattening the 3rd, 6th and 7th. The jazz melodic minor just flattens the 3rd, ascending and descending.
These scales are all legitimate minor scales (there are others too). At present you seem to prefer that semitone sound between D# and E, and that's fine.
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
add a comment |
Your confusion is understandable because you have the choice of using one, or a combination, of three minor scales: the natural minor, the harmonic minor or the melodic minor. In using a D# you have strayed from the natural minor scale to the melodic minor scale, and this scale has worked for you.
The natural minor scale flattens the 3rd, 6th and 7th degrees of the parallel major scale. The harmonic minor scale flattens the 3rd and 6th. The melodic minor (ascending) only flattens the 3rd, but when descending it is identical to the natural minor, flattening the 3rd, 6th and 7th. The jazz melodic minor just flattens the 3rd, ascending and descending.
These scales are all legitimate minor scales (there are others too). At present you seem to prefer that semitone sound between D# and E, and that's fine.
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
add a comment |
Your confusion is understandable because you have the choice of using one, or a combination, of three minor scales: the natural minor, the harmonic minor or the melodic minor. In using a D# you have strayed from the natural minor scale to the melodic minor scale, and this scale has worked for you.
The natural minor scale flattens the 3rd, 6th and 7th degrees of the parallel major scale. The harmonic minor scale flattens the 3rd and 6th. The melodic minor (ascending) only flattens the 3rd, but when descending it is identical to the natural minor, flattening the 3rd, 6th and 7th. The jazz melodic minor just flattens the 3rd, ascending and descending.
These scales are all legitimate minor scales (there are others too). At present you seem to prefer that semitone sound between D# and E, and that's fine.
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
Your confusion is understandable because you have the choice of using one, or a combination, of three minor scales: the natural minor, the harmonic minor or the melodic minor. In using a D# you have strayed from the natural minor scale to the melodic minor scale, and this scale has worked for you.
The natural minor scale flattens the 3rd, 6th and 7th degrees of the parallel major scale. The harmonic minor scale flattens the 3rd and 6th. The melodic minor (ascending) only flattens the 3rd, but when descending it is identical to the natural minor, flattening the 3rd, 6th and 7th. The jazz melodic minor just flattens the 3rd, ascending and descending.
These scales are all legitimate minor scales (there are others too). At present you seem to prefer that semitone sound between D# and E, and that's fine.
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
answered 1 hour ago
Areel XochaAreel Xocha
1,989411
1,989411
add a comment |
add a comment |
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1
Not-so-random question: do the D sharps tend to occur when the melody is going upward, and the D naturals when it is going down? Alternatively, if you have harmonies, or chords, worked out, do you notice certain chords attracting the D naturals and others the D sharps?
– replete
1 hour ago