This is true for all natural minor scales.

This particular scale can be created by starting on the 6th degree of any major scale, and playing an octave away from that, keeping the key signature the same. The Natural Minor scale is also known as the Aeolian Mode, one of the church modes from the plainchant period before the Renaissance.I'm going to expand upon the answer already provided just to give some further clarification on the history and usage of each scale. This all is, of course, simplified but should give the basic idea. You use the harmonic minor scale when you need a dominant chord, and modify it to be the melodic minor if you need the leading note in the melody. In short, you start with the natural minor scale. Another reason for using the natural minor when going downwards is that if you take the upwards melodic minor and play that downwards it'll only start sounding like a minor after the fifth note or so. If you're going downwards you're probably not in a dominant harmony and thus you use the natural minor. Since the raised 7th degree is a leading note you usually go melodically upwards when using it. So, from the melodic point of view, if you need the raised 7th and want to go up melodically, you also raise the 6th degree to make things more fluid. This is a difficult interval to sing and also sounds like a jump, unlike the other intervals in the scale. Raising only the 7th degree causes the scale to have an augmented second between the 6th and 7th degrees. Using a 'flat' leading note makes the music sound modal, and was used both before and after the common practice era (probably also during it in folk music and such). So, from the harmony point of view, the 7th degree of the natural minor scale should be raised in these cases, and you get the harmonic minor scale. In the common practice era a dominant chord usually contains the leading note, which is a semitone below the tonic, because that note has a strong tendency to resolve to the tonic. Jules Van Nuffel wrote his psalm setting In convertendo Dominus for choir and organ in C-sharp minor.There are at least some differences in how they're used: Dmitri Shostakovich's Violin Concerto No.В 2 is in C-sharp minor. Piano concertos written in C-sharp minor include Erich Wolfgang Korngold's Piano Concerto for the Left Hand, Op.В 17, Nikolai Rimsky-Korsakov's Piano Concerto, and others by Ferdinand Ries, Xaver Scharwenka, Amy Beach, Miriam Hyde and Issay Dobrowen. 2, and Tchaikovsky's Piano Sonata in C-sharp minor. 1 (Scriabin), Franz Liszt's Hungarian Rhapsody No. More examples of works in C-sharp minor include Rachmaninoff's Prelude in C-sharp minor (Op.В 3, No.В 2), Scriabin's Г‰tude in C-sharp minor, Op. 1 and Nocturnes No.В 7 (Op.В 27, No.В 1) and No.В 20 ( Lento con gran espressione). ДЄlkan composed the second movement (Adagio) for Concerto for Solo Piano in C-sharp minor.ДЇrГ©dГ©ric Chopin often wrote in this key: examples include the Fantaisie-Impromptu, Г‰tudes Op. Even so, Johannes Brahms still felt the need to rewrite his C-sharp minor piano quartet in C minor, which was published as Piano Quartet No.В 3 in C minor, Op.В 60.

Beethoven himself used this key again in the outer movements of his String Quartet No.В 14 (Op.В 131, 1826). After Beethoven's Piano Sonata No.В 14 ( Moonlight Sonata), the key became more frequent in the piano repertoire. Domenico Scarlatti wrote just two keyboard sonatas in C-sharp minor, K.В 246 and K.В 247. This key occurs more often in piano literature from the 18th century onwards. 7, the first movement of Mahler's Symphony No.В 5 and Prokofiev's Symphony No.В 7. Notable examples are the second, adagio movement to Bruckner's Symphony No. In the following two centuries, C-sharp minor symphonies remained rare. One of them is by Joseph Martin Kraus, who appears to have found the key difficult since he later rewrote it in C minor. There are only two known symphonies in the 18th century written in this key. See also: List of symphonies in C-sharp minor

C minor harmonic