Re: Minors and manners

[Bruce Steinberg <bruces@xxxxxxx>]

re:
        From: Winslow Yerxa <76450.3230@xxxxxxxxxxxxxx>

                                <...>
        
        If someone wants to define a minor scale in terms of its
        differences from its tonic major (three lowered modal degrees in
        the scale) that's perfectly all right. This is a handy way of
        pointing it the difference to a curious beginner without first
        attempting to explain key signatures or modes. Later you can get
        into the full-boat theory lesson if they need to understand it.

                                <...>
        
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It is with some trepedation that I venture into this turbulent
thread (and all flames to /dev/null -- please! :), but I'd just
like to further add that reference to major scales in explaining
"other" scales/modes/qualities/etc isn't just for beginners.

No less an "advanced" authority than John Mehegan in his
excellent "Tonal and Rhythmic Principles" (Amsco) defines
"altered scale-tone seventh chords" -- i.e., major, ~as well as~
dominant, minor, half-diminished, and diminished -- in direct
reference to ~each other~.

In explaining a conversion chart (from one "quality" to another),
he notes:  

"To alter a Major chord to a Dominant -- flat the seventh;
 To alter a Major chord to a Minor -- flat the third and flat the
seventh;
 To alter a Major chord to a [half-dim] -- flat the third, flat
the fifth, and flat the seventh;
 To alter a Major chord to a [full dim] -- flat the third, flat
the fifth, and ~double-flat~ :) the seventh."  (Smiley mine.)

It should be noted that this doesn't just base the "other four"
qualities on the "Major";  all qualities can (and should be)
defined in terms of the others.

e.g.,

To alter a Minor chord to a Dominant -- sharp the third.  
Etc.  Major chords need not apply.  But if that's where you're
coming from (literally or figuratively), cool.

Peace, bro's (and sis's).  B*)