So trying to look for "melodic minor" isn't all that helpful in that context.Īll that said, this is not a traditional minor key piece and is instead A Dorian as you suspect. So a piece of music could absolutely be in A Minor and have BOTH F and F#, and G and G#. The Harmonic and Melodic Minor scales are merely devices to illustrate how 6 and 7 behave in each of those contexts, not not separate "scales to play" (or write with) and things like that. So instead, the way it works is a Minor * Key contains 7 notes, 2 of which - scale degrees 6 and 7 - are variable depending on melodic and harmonic needs. It's in a KEY (that's why it's tonal music :-)
In fact, traditional tonal music is not "in scales" at all and it's not good to look at it that way. It's "in A" - starting on A, and thus has nothing to do with the Key of G other than sharing notes (just like G Major and E minor are two different things).Īdditionally, in traditional music that is "in a minor key" it's not "in the harmonic minor scale" or "in the melodic minor scale". It's not "in the key of G but starting on A". Now, there is modern treatment of this ascending portion "as a scale" and Jazz Minor is an example of that.īut part of my reason for pointing this out is your process is a bit flawed: Don't look at SCALES to determine KEYS. Instead, it's a device or mnemonic to illustrate how scale degrees 6 and 7 in a minor key behave in various melodic contexts - hence the name. The real answer is, it's because Melodic Minor is not really a scale at all in traditional use. If you look closely, you'll see that the Melodic Minor scale is listed in TWO forms - ascending, yes, it would have #6 and #7 (F# and G# in this example), but descending it returns to Natural Minor. If it was F# with G#, it’d be in a melodic A minor scale Just as an expansion on this since you cross posted to music theory: That's a mode, not a key, so "officially" it's not in a Key, it's in a Mode. It is also one of the tracks featured in Nick Hornby's book, Songbook.It's in A Dorian (that is, the chord progression the OP provided, not the actual chords of the song). It was later covered by José Feliciano with added lyrics on his 1982 album Escenas de Amor, by Ottmar Liebert on his 1992 album Solo para ii, by Gato Barbieri on the Fania All Stars 1981 album Social Change, and also by Angélique Kidjo, who put lyrics in Yoruba on her album Oyo. In 1974 the song was covered by Bruno Battisti D'Amario and Edda Dell'Orso for the album Samba para ti.
"Samba Pa Ti" is one of the group's most popular and acclaimed songs, and it is still in the band's tour set lists. He couldn’t make up his mind which one to put in his mouth first, the saxophone or the bottle and I immediately heard a song"."I wrote the whole thing right there"-Carlos Santana And I kept looking at him because he kept struggling with himself. ""Samba Pa Ti" was conceived in New York City on a Sunday afternoon,"."I opened the window I saw this man in the street, he was drunk and he had a saxophone and a bottle of booze in his back pocket. In 2008, Santana told Mojo that "Samba Pa Ti" was the first song he felt he could call his own. The song was written by Carlos Santana after he witnessed a jazz saxophonist playing in the street outside his apartment. 27 on the UK Singles Chart, Santana's first single to chart in the United Kingdom. In English, the title means "Samba for You." It was released as a single in 1973. " Samba pa ti" is an instrumental by Latin rock band Santana, from their 1970 album, Abraxas.
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