Why is the chord of G, B and D working with a A minor scale when a G isn’t even in the scale?
Cos it is in the scale
G is not in the A minor scale
Chord progressions dont follow scales… You can put any chords one after the othet, some work some dont.
dude G is definitely in the A minor scale. lol. It’s the 7th degree of an A minor scale.
Which a pretty strong harmonic being the 7th which is prolly why its working 
Ask Jamie 
[quote]ICN (12/05/2011)[hr]Ask Jamie :D[/quote]
+1
Or google
I’ve a book of scales here, F is in the A minor and so is G#, but no G. lol
wtf???
This is what it says:
A B C D E F G# A
thats the harmonic minor scale…
natural minor is A B C D E F G A
Does all harmonic scales move the 7th up by a semitone then??
[quote]jpgetty2win (12/05/2011)[hr]thats the harmonic minor scale…
natural minor is A B C D E F G A[/quote]
hahahha the is true.
dude your looking at A harmonic Minor!!! hahahahha
[quote]Roben (12/05/2011)[hr]Does all harmonic scales move the 7th up by a semitone then??[/quote]
Yep.
That’s what makes it Harmonic.
It’s a minor scales with a Major 7th
Lots of famous classical pieces do this
Beethoven "Für Elise" Valentina Lisitsa Seoul Philharmonic - YouTube
lol such an intense crowd
[quote]Roben (12/05/2011)[hr]Does all harmonic scales move the 7th up by a semitone then??[/quote]
There are several minor scales…
[url]http://en.wikipedia.org/wiki/Minor_scale[/url]
Natural minor
E.g. All the white keys starting and ending on A
Harmonic minor
Melodic minor (ascending)
Melodic minor (descending)
(notice this looks like the natural minor when it descends)
Traditional Japanese minor
A, B-flat, D, E, G, A
There are three types of minor scale:
- The Natural Minor scale.
This is achieved by simply finding the notes of a major scale, going to the 6th scale degree, using THAT 6th scale degree as your tonic or starting pitch, and playing the scale from 6 to 6 using the key of whatever major scale you are using major. Thus, in the key of C major, the 6th scale degree is A. You would then get the following scale: A-B-C-D-E-F-G-A. This is called finding the RELATIVE MINOR since the key signatures are the same). Now you could simply find the PARALLEL MINOR of any major key by lowering the 3rd, 6th, and 7th scale degrees of your major scale. It’s called parallel because the TONIC is the same in each of the major and minor, e.g. C-major to c-minor.
- The Harmonic Minor scale.
This scale RAISES the seventh scale degree of any natural minor scale. During the Classical period, it was very important for composers to maintain the “major” quality of the dominant chord in the key they chose. Now, the seventh scale degree happens to be the note that determines the quality of the dominant chord (since it is the third of the chord). So assume you are again in C major:
C - D - E - F - G - A - B - C
The Natural minor is:
C - D - Eb - F - G - Ab - Bb - C
With the major, the dominant chord is G-B-D.
With the minor, the dominant is G-Bb-D.
To classical composers, G-Bb-D as the dominant chord in the key of c-minor simply sounded flat-out WRONG to them. It’s just the way they heard harmony. So to accommodate the dominant chord, they used the HARMONIC MINOR scale. Simply put: it keeps the dominant chord MAJOR in quality.
- The Melodic Minor scale:
This scale has two versions: The one that goes up, and the one that comes down. First, the one that comes down. The descending version is simply your NATURAL MINOR scale. The one that ascends will RAISE the 6th and 7th scale degrees of the natural minor scale. So, to provide another example:
Ascending C-melodic minor:
C - D - Eb - F - G - A - B - C
Descending C-melodic minor:
C - Bb - Ab - G - F - Eb - D - C
Notice how the 6th and 7th change. The reason composers have done this once again concerns the interplay between your tonic (in this case ‘C’) and your dominant tone, or fifth scale degree (in this case ‘G’). In minor keys, the ear of composers and musicians felt the draw between the tonic and dominant as the most important source of music tension possible. To their ears, the RAISED 6th and 7th on the way up gravitated more naturally to the tonic. If they weren’t raised, the pull was not as strong. Same thing in the descending version. They found that when they LOWERED the 6th and 7th on the way down, it led more naturally to the dominant tone. So, the direction within the Melodic minor scale simply shifts the gravitational pull toward one or the other by altering those particular notes.
Hope this helps!
Jamie
and thats why he gets paid 
Haha…not nearly enough by my employers, I’d say, but the idea of helping someone else understand is more than enough payment for me!
J
Why is music theory a concept that i just cant get my head around 
[quote]JamieinNC (13/05/2011)[hr]
Hope this helps!
Jamie[/quote]
It does for me. That was as clear an explanation as I could hope for.
Good skills Jamie
I’ve just emailed to your employers J 
[quote]JamieinNC (13/05/2011)[hr]the idea of helping someone else understand is more than enough payment for me[/quote]