i'm composing a song, but i'm not sure about the notes and the scale.
i used mostly A - A# - C - C# - D# and F, the other note is the one i'm not sure.
so i searched some sites to discover which scale i was using.
it appears it is a melodic minor, tonic note A#, this is the note i thought would be the tonic.
but as i use the A as much as A#, it could be an altered scale, tonic A.
the problem about the other note is that using G, it dont sound good. it could be F#, but i dont really like it.
i prefer using G#.
so my question is:
assuming the tonic is A#, so it is a melodic minor with double sharpen on the 6th and sharpen on the 7th too. is it possible to double sharpen the 6th? (in that case - A# - C - C# - D# - F - G# - A)
obs: i'm brazilian, sorry for any english problems
i got a little doubt using MINOR - MELODIC MINOR
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Your english is fine.
If you're looking at sites with those spellings, stop going to these.
For instance, A to A# doesn't work for any of the suggested scales. 7 note-scales have 7 letter names, not repeated ones. This will lead to confusion moving forward. Whether tonic is A or 'leading tone' is A, A to A# isn't good. If you have an 8-note scale it's unavoidable. But a site that doesn't have basic spelling going for it is liable to have some other things wrong.
Ok: Bb C Db Eb F G A is the rising form of Bb melodic minor. (On A# it's A# B# C# D# E# Fx (double sharp) Gx; double sharps are why I'll go with Bb. Reasoning here, again is scales are alphabetically spelled.)
If you like Bb C Db Eb F G# A, it doesn't have a name I know of, but why not go with it if you like it.
But, note well, the thing called melodic minor enjoys quite some currency for centuries.
Classically, going back to the baroque period basically there is an ascending and descending form typically in use; here the descending form reads: Bb Ab Gb F Eb Db C Bb.
But the purely rising form is also known as jazz minor. And jazz vocabulary includes 'modes of' that, that set starting with a different note than Bb as tonic.
But there's nothing wrong with making a scale you like, lack of common name for it notwithstanding.
If you're looking at sites with those spellings, stop going to these.
For instance, A to A# doesn't work for any of the suggested scales. 7 note-scales have 7 letter names, not repeated ones. This will lead to confusion moving forward. Whether tonic is A or 'leading tone' is A, A to A# isn't good. If you have an 8-note scale it's unavoidable. But a site that doesn't have basic spelling going for it is liable to have some other things wrong.
Ok: Bb C Db Eb F G A is the rising form of Bb melodic minor. (On A# it's A# B# C# D# E# Fx (double sharp) Gx; double sharps are why I'll go with Bb. Reasoning here, again is scales are alphabetically spelled.)
If you like Bb C Db Eb F G# A, it doesn't have a name I know of, but why not go with it if you like it.
But, note well, the thing called melodic minor enjoys quite some currency for centuries.
Classically, going back to the baroque period basically there is an ascending and descending form typically in use; here the descending form reads: Bb Ab Gb F Eb Db C Bb.
But the purely rising form is also known as jazz minor. And jazz vocabulary includes 'modes of' that, that set starting with a different note than Bb as tonic.
But there's nothing wrong with making a scale you like, lack of common name for it notwithstanding.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
NB: that F G# A Bb might easily be construed F Ab A Bb like in a blues lick, or a blues type of scale. That may be more familiar to you than melodic minor rising. Blues minor, you can make up names too, why not. 'Synthetic scales' is a known thing, as it were. Oh, as to that spelling it suggests an 8-note scale, Bb C Db Eb F G Ab A, the Sadoky Blues Minor. 
But the original thinking of melodic minor is melody with an harmonic consideration: here, G is third of the IV chord Eb and A is third of the V chord F. F G# A Bb would tend to be a purely linear type of thing. Which I encourage, not discourage.
But the original thinking of melodic minor is melody with an harmonic consideration: here, G is third of the IV chord Eb and A is third of the V chord F. F G# A Bb would tend to be a purely linear type of thing. Which I encourage, not discourage.
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- KVRer
- Topic Starter
- 3 posts since 6 Jun, 2018
thanks for the help! =D
i'm still understanding the rules.
about the spelling, i wrote with sharpens because i use ableton when producing, it put that way there and i forget that b is more commonly used. lol
i'm still understanding the rules.
about the spelling, i wrote with sharpens because i use ableton when producing, it put that way there and i forget that b is more commonly used. lol
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Nearly all DAWS show it all as sharps in the piano roll or editors. Would tend to make much easier coding, I suppose.
A# minor in the natural form is 7 sharps, but once you sharpen the 6th and/or 7th it's double sharps as I showed; and so in this case Bb minor is less unwieldy hence more common. Flats are not more common per se.
A# minor in the natural form is 7 sharps, but once you sharpen the 6th and/or 7th it's double sharps as I showed; and so in this case Bb minor is less unwieldy hence more common. Flats are not more common per se.