the minor mode –
part 1: natural and harmonic minor, an Artificial
Leading Tone, and Cadences. We hope that you have taken the time to actually
do the paper and pencil exercises suggested in a previous video.
If not, we strongly urge you to go back and do so, because we will be building on that
foundation.
Upcoming material will not be easier, but harder.
A link to download the textbooks is in the description.
Now that we understand each other … We have up to this point dealt exclusively
with the Major Mode, pointing out that there are Seven Primary Tones and Five Secondary
Tones, for a total of 12 tones in the octave.
When played consecutively, they form a chromatic scale.
The Seven Primary Tones of the Major Mode are organized in two identical and connected
tetrachords.
The four tones of each tetrachord follow the whole-tone, whole-tone, and semitone pattern.
The two tetrachords are separated by a whole-tone.
Now, just as there are 12 tones in Major, there are 12 in Minor.
Don't forget, any of the 12 tones can become the tonic of a new key, through the process
of transposition.
So there are 12 possible minor tonics as well.
The closest relative of any Major Scale is the Minor Mode having the same key signature.
We call it the Relative Minor, and its root or tonic is the sixth tone of the Major Scale,
the submediant.
It is a minor third below the root of the major scale.
See the link in the description for more on the Minor Mode.
The Relative Minor of C Major is therefore, a minor, which, like the key of C Major, has
no flats or sharps in its key signature.
How observant were you?
Did you notice our use of a lower case letter to label the minor key?
The Relative Minors of F Major, G Major, B-flat Major, D Major, etc. are, respectively, d
minor, e minor, g minor, b minor, and so forth.
Notice the matching key signatures, and the upper case vs. lower case.
Because the order of the tones is different, the two tetrachords of the Minor Mode are
different, and the relationship between the individual tones is different.
Look at the notes of the a minor mode.
That's LA, TI, DO, RE, MI, FA, SOL, LA'.
As before, there are two tetrachords separated by a whole-tone, but now the pattern of the
lower tetrachord is whole-tone, semitone, whole-tone: LA, TI, DO, RE.
The upper tetrachord is different: semitone, whole-tone, whole-tone: MI, FA, SOL, LA'.
It changes the sound.
The arrangement of tones in the minor scale creates new sounds and possibilities for chord
progression, notably at cadences.
Restricted to the unaltered tones of the minor mode, only the plagal cadence – iv-i – is
possible, at first glance.
Notice our use of lower case Roman numerals.
The natural minor mode has no Leading Tone, and with no LT, an authentic cadence is not
possible.
Now, the minor [v-i] is an interesting sound, too, but w/out a LT, the strong feeling of
a cadential close is not felt.
By the way, what note would be the LT of A?
Yes, G-sharp!
So by raising the seventh tone of the minor mode – G, or "SOL" S-O-L,– by a chromatic,
or "large" semitone – to G-sharp, or "SI" S-I,– we make the dominant triad
Major.
This action artificially transplants the Leading Tone of Major to the Minor key, essentially
a diatonic or "small" semitone below the octave of the root tone of the minor scale:
Major V-i. an [AC] in minor.
Some modern composers have experimented with mixed key signatures – Bela Bartok, for
one – but at this level of our study, we simply add an accidental whenever we need
the Leading Tone in minor.
The minor key retains the key signature of its relative major.
Where it comes to triads of the Minor Mode - the HARMONY - we use the harmonic minor
scale as a pool of notes to draw from, for making chords.
In solfège, that's LA, TI, DO, RE, MI, FA, SI, LA'.
That explains why we add an accidental to raise the G by a chromatic semitone, though
the key signature of a minor is the same as that of C Major.
Whenever the seventh scale degree has to function as a Leading Tone, we add the accidental.
As in this cadence.
Now that we've enjoyed an appetizer of minor tonality, we'll let it digest, until we
return next time with the entrée, for what is NOT a "minor" meal.
Be sure to give this clip a thumbs up and subscribe for updates.
Thank you for watching! [music credit] [Copyright © Mark Priest, 2017.]
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