Pedagogy / Harmony 101 / Minor Mode



The Minor Mode is quite similar to the Major Mode as you will soon see.
      They both share the same DOMINANT Tetrad ofV7 and Triad ofV
               which are always major chords even if not indicated as such,
           and the 2 swings of the nucleus function the same way.
      Only the circle is a little different, being half-Major and half-Minor.
 The most important difference between these 2 modes is one of uniformity -
      The Major Mode is uniform, completely major.
           Even when it uses minor chords, it uses them in a major way,
                without any (strong) minor cadences.
      The Minor Mode is a mixed bag, partly minor and parlty major.
           In the nucleus we find 2 minor chords and 1 major chord, and
                in the circle, we find both major and minor sections.
Above all, do not trust scales, chords are far more reliable.

Indication of the Minor Mode
We will indicate the Minor Mode by placing the lower-case letter "m:" before the Roman numerals.
           Example :m:V-I(orm:V7-I) for the DOMINANT-TONIC progression in the Minor Mode.
      The upper-case letter "M:" will be used to designate the Major Mode (M:V-I) whenever required for clarity,
           but will be understood when there is no letter, as was the case in the first lesson.
                

Getting Ready

Start with Tetrads

The structure and disposition of Tetrads, as well as their Orbits,
     remain exaclty the same as they were in the Major Mode,
           the only difference being that the nucleus of the Minor Mode
                is now at the top of the Window rather than at the bottom.

Details of the Minor Mode
You will find here the 4 Tetrads in the nucleus of the mode
           (2 minor chords and 1 major chord, the DOMINANT),
      and what we call the 2 "swings" which exist between these 3 chords.
           You will note that we call this theChromatic Minor Mode
                    (on account of its chromatic DOMINANT)
                and because there is also a Diatonic Minor Mode which we will see later.
      In this Chromatic Minor Mode, you will find all the examples in the Key of Am
                     (remaining in the same Window),
                which facilitates the traveling from one mode to the other,
           but you might like to transpose these examples to the Key of Cm
                to fully appreciate the similarity with the Major Mode,
                     which we usually do on this page.
 Remember that Tetrads can resolve in either direction (a fifth up as well as a fifth down)
      depending on theMOTRIX(sixth or seventh) which it possesses.
           Don't forget to come back.

Then Produce Triads

With Swings

The Voice-leading A Swing
To produce this Swing in Minor, all we have to do is make theMEDIANof the TONIC chord Eb instead of E.
      When you copy thisMinor TONIC-DOMINANT Swing,
                place 3 flats in the Key signature and indicate the As and Bs as natural.
           Don't forget to come right back, the processes of Chromaticism are for later.
 The indication of Real Triads in upper case, and that of Deceptiive Triads in lower case,
      will also be much more evident in the Minor Mode, and very, very useful.
Keep Page 1 of the Major Mode handy.
     You will constantly want to compare the 2 modes
           and see how many examples in major can advantageously be transformed into minor.




Start building
1. On a large sheet of music paper,copy this swingin the top-left corner, and number it mS1a.
      This is the TONIC/DOMINANT swing,m:I6-V7 , between Cm6and G7.
           Don't forget the Orbit numbers in all the examples, as well as the As and Bs indicated natural.
 2. Re-copy it a fifth lower (always in the same key of 3 flats) in the top-right corner, and number it mS1b.
      You now have the COUNTER/TONIC swing,m:IV6-I7 , between Fm6and Cm7.
           The Orbit numbers are exactly the same as in mS1a, and there are no accidentals (Bb and Ab).
 3. Below mS1a, remove eachOrbit 3from it, and replace it with anOrbit 0, indicated0(3),
      to produce Real Triads (m:Iandm:V), and number it mS2aR.
           The Orbit numbers are still the same as in mS1a, if you read within the parentheses.
 4. Beside mS2aR, remove eachOrbit 0from mS1a, and replace it with anOrbit 1, indicated1(0),
      to produce Deceptive Triads (m:#viandm:#vii), and number it mS2aD,
                both built on chromatic roots and preferably labeled with#signs.
           The Orbit numbers are still the same as in mS1a, if you read within the parentheses.
 5. Below mS1b, remove eachOrbit 3from it, and replace it with anOrbit 0, indicated0(3),
      to produce Real Triads (m:IVandm:I), and number it mS2bR.
           The Orbit numbers are still the same as in mS1a.
 6. Beside mS2bR, remove eachOrbit 0from mS1b, and replace it with anOrbit 1, indicated1(0),
      to produce Deceptive Triads (m:iiandm:iii), and number it mS2bD,
                both built on diatonic roots.
           The Orbit numbers are still the same as in mS1b, if you read within the parentheses.
                In mS2aR, mS2aD, mS2bR, and mS2bD, notice where the Triads are in Root Position.
 7. Below mS2aR and mS2aD, choose only the Triads in Root Position
           (first and second of mS2aD, third and fourth of mS2aR)
      and you have 4 Triads in root position (m:#vi,m:#vii,m:I, andm:V)
           with perfect doublings ("thirds" for the Deceptive Triads, roots for the Real Triads).
      However, there is the same voice-leading problem as in the Major Mode,
           between them:#viiandm:ITriads,
                where the 2 Ds (in the Alto and Tenor) both go to G when one should go to C.
           The solution is the same, to send the Alto from D to C (and then to B) for perfect Voice-leading,
                with substitutions1(0)D and1(3)C (and resolution to Orbit2B), in the same voice.
           Number this mS3aRD and write in the Triad Roman numerals (and Orbit numbers).
 8. Below mS2bR and mS2bD, choose only the triads in root position
           (first and second of mS2bD, third and fourth of mS2bR)
      and you have 4 Triads in root position (m:ii,m:iii,m:IV, andm:I)
           with perfect doublings ("thirds" for the Deceptive Triads, roots for the Real Triads).
      For perfect Voice-leading, don't forget the adjustment where the 2 sections are pasted together
           between them:iiiandm:IVTriads, G, F, Eb, in the Alto voice.
                Number this mS3bRD and write in the Triad Roman numerals (and Orbit numbers).
Keep this page. Examples 7 and 8, mS3aRD and mS3bRD, furnish precious material in Root Position.

With a Complete Circle

The Minor Circle is partly Major and partly Minor (as is the nucleus of the mode) -
      The first half of the Minor Circle is exactly the same as the second half of the Major circle,
           when both are, of course in the same Window.
      The only chromatic note of the whole circle will be theMEDIANof the DOMINANT chord at the end.
Here, as in the Major Mode, a circle may be composed uniquely of Real Triads
      or of alternating Deceptive and Real Triads.
Keep Page 2 of the Major Mode handy.
     You will constantly want to compare the 2 modes
           and see how many examples in major can advantageously be transformed into minor.




Start building
1. At the top of a sheet of music paper, in Cminor, copy the Chromatic MinorCirclein Tetrads,
      complete with the 4 Orbit Lines and the Fundamental Bass, and number it mC1.
           Don't forget the Orbit numbers in each example, which will always remain the same.
 2. Below mC1, remove eachOrbit 3(the seventh), and replace it with anOrbit 0, indicated0(3),
           (in this case, the root of each chord),
      to produce Real Triads (m:I,m:IV,m:VII,m:III,m:VI,m:II,m:V,m:I, with the majorV).
           The Triadsm:I,m:IV,m:VII,m:IIIin Minor are exactly the same
                as the TriadsM:VI,M:II,M:V,M:Iin Major
                     and the cadence in Eb major at the fourth chord is very evident.
           Number this mC2R and write in the Triad Roman numerals (and Orbit numbers).
                There are no crossings here and this may be performed in open or close positions.
      The Fundamerntal Bass will assure Root Position for all Triads
           and one may eliminate either the second or the fourth Orbit Line.
 3. Below mC2R,
      in the odd-numbered Tetrads of mC1 (m:I7 ,m:VII7 ,m:VI7 ,m:V7 )
                remove eachOrbit 0(the root of each chord)
           and replace it with anOrbit 1(the fifth of the chord), indicated1(0),
                to produce Deceptive Triads (m:iii,m:ii,m:i,m:#vii),
      in the even-numbered Tetrads (m:IV7 ,m:III7 ,m:II7 ) treat as in mC2R (2.), indicated0(3),
                to produce Real Triads (m:IV,m:III,m:II).
           Number this mC2DR and write in the Triad Roman numerals (and Orbit numbers).
      With the first Orbit Line in the Bass,
                all the Triads (m:iii,m:IV,m:ii,m:III,m:i,m:II,m:#vii,m:I), will be in Root Position,
                     with an evident cadence in Eb major at the fourth chord here also.
           NOTE - With the second Orbit Line zigzagging on the fifth of each chord,
                     it will constantly cross the third Orbit Line,
                and they should be placed in alternate performance voices, Tenor (2) and Soprano (3).
                     thereby placing the secondary notes in the outer voices (always a good idea).
           The Fundamerntal Bass cannot be used here,
                because the root must be removed from each Deceptive Triad.
      Place this disposition of mC2DR (without the Orbit numbers) to the right of the original Orbit Lines.
 4. Below mC2DR,
      in the even-numbered chords of mC1 (m:IV7 ,m:III7 ,m:II7 ) remove eachOrbit 0,
           and replace it with anOrbit 1, indicated1(0),
                to produce Deceptive Triads (m:vi,m:v,m:iv), and
      in the odd-numbered chords (m:I7 ,m:VII7 ,m:VI7 ,m:V7 ) treat as in mC2R (2.), indicated0(3),
                to produce Real Triads (m:I,m:VII,m:VI,m:V).
           Number this mC2RD and write in the Triad Roman numerals (and Orbit numbers).
      With the third Orbit Line in the Bass,
                all the Triads (m:I,m:vi,m:VII,m:v,m:VI,m:iv,m:V,m:I), will be in Root Position.
           NOTE - The third and fourth Orbit Lines will cross
                     and should be placed in alternate performance voices, with the fourth line in the Alto.
                The first Orbit Line could advantageously be in the Soprano,
                     placing the secondary notes in the outer voices, and producing a closing cadence.
           The Fundamerntal Bass cannot be used here,
                because the root must be removed from each Deceptive Triad,
                     but part of it will appear in the last 2 chords.
      Place this disposition of mC2RD (without the Orbit numbers) to the right of the original Orbit Lines.
           NOTE that in the last 2 examples, 3. mC2DR and 4. mC2RD,
                the Real Triad ofm:Vis major but the Deceptive Triad ofm:vis minor,
                the Deceptive Triad ofm:#viiis chromatic but the Real Triad ofm:VIIis diatonic.
                     Chords in the first half of the circle belong to the relative Major Mode, but
                     chords at the end of the circle belong to the DOMINANT of the Minor Mode.
 5. Example 5. C1a in the Major Mode does not lend itself as well to transformation into the Minor Mode.
      You may wish to try it yourself to find out why.
Keep this page. Three examples furnish precious material in Root Position,
      2. mC2R with only Real Triads,
      3. mC2DR and 4. mC2RD with alternating Real and Deceptive Triads.

With Extended Swings

As we did in the Major Mode,
      it will be possible to work with them:I7 - IV6 - I6 - V7 - ITetrad chord pattern in the Minor Mode
           with the chords Cm7 - Fm6 - Cm6 - G7 - Cm
                and we will limit ourselves to Real Triads in Root Position, as we did in the Major Mode.
Keep Page 3 of the Major Mode handy.
     You will constantly want to compare the 2 modes
           and see how many examples in major can advantageously be transformed into minor.




Start building
1. Let's start with CS2R (in 3. of Page 3 of the Major Mode) and transform it into the Minor Mode.
      With 3 flats in the Key signature, the only accidental will be the B in the Triad ofm:Vin the Tenor Voice.
                Number this mCS2R.
 2. We'll now use CS2Rx (in 4. of Page 3 of the Major Mode) to produce them:I - IV - V - Ipattern,
      in the Minor Mode.
                Number this mCS2Rx.

Analysis and Summary

Chromaticism in the Minor Mode
1. The DOMINANT Tetradm:V7 , with its majorMEDIAN, B,
      is certainly the principal instigator, being essential to this specific mode,
           and will impose this chromatic note on both its Real Triad ofm:Vand its Deceptive Triad ofm:#vii.
2. The chords preceding the DOMINANT will also be affected -
      (a) The TONIC Tetradm:I6 , with itsMOTRIX, A (which resolves to B),
           will impose this chromatic note on its Deceptive Triad ofm:#vi.
      (b) The ANTE-1 Tetradm:II7 is the diminished BUCKLE chord,
           and chromaticism there is not that simple, especially on the1(3)substitution of theMOTRIX.
                On its Real Triad ofm:II, raising the fifth is rather awkward,
                          unless one dominantizes the chord with the F# (a little soon to try that),
                     and it is far better to use the0(3)substitution (with the D-B line),
                          and keep the diatonic Ab with its normal Primary Note options (1-1and1-0).
                On its Deceptive Triad ofm:iv, the1(3)substitution is certainly not recommended
                     because theMOTRIXitself, C, is also present and would be imposed faulty Voice-leading.
                          Resolve C-B normally and keep the diatonic Ab with its normal Primary Note options.
 3. In a nut-shell,normal chromaticism in the Minor Mode is in the TONIC/DOMINANT Swing.

Doing Your Homework

We will run through the same procedures as those of the Major Mode
      and you should have little difficulty if the previous work went well.
 If you need extra help, with more details for specific work,
      let usknowwhat you need.

There is little that is really different here. You will probably still be limited to Triads in Root Position.
      1. Take out your 3 pages of Swings, Circles, and Extended Swings in the Minor Mode.
      2. You should have no trouble identifying Real and Deceptive Triads by now
                and this should help you considerably.
            Don't forget how much major there is in this minor mode.
     Whether your homework be "Isolated Progressions", "A Given Bass", or "Composition",
           the work will be quite similar.




Composition building
     1. In the page of Swings -
           First, take example 7. mS3aRD and repeat it (m:vi-vii-I-V-vi-vii-I-V)
           then, remove the secondm:viand add am:Iat the end (m:vi-vii-I-V-vii-I-V-I).
                You should be able to dispose the last chord to come to a definitive ending.
           Finally, transpose this to Gm, a more suitable key for performance.
      2. In the page of the Circle -
           Just paste examples 3. mC2DR and 4. mC2RD together and leave it in Cm,
                the first example remains "open" and the second "closes" nicely,
                     what we call antecedent and consequent (m:iii-IV-ii-III-i-II-vii-I-I-vi-VII-v-VI-iv-V-I).
      3. Also in the page of the Circle with examples 3. mC2DR and 4. mC2RD -
                Instead of pasting them together, end to end,
           use both the Real and Deceptive Triads of each Tetrad in only 1circle,
                interlocking the 2 examples to producem:I-iii / IV-vi-VII-ii / III-v-VI-i / II-iv-V-vii / I.
           This should not be too difficult, you already did this in the Major Mode.
           Finally, transpose this to Am, a more suitable key for performance.
      4. Also in the page of the Circle, we know that example 5. C2Ra (in the Major Mode)
           does not lend itself to a satisfactory version in the Minor Mode.
      5. However, it is possible to transform into the Minor Mode example 5. C2Ra in its 3/4 version,
           which we did in thecomposition section of the Major Mode,
                producing the chord patternm:I / IV-ii-III / VI-iv-V / I(in Cm),
                     with the appropriate ajustments to the 4 voices on the 2 Deceptive Triads.
      6. In the page of Extended Swings -
           First, take the Orbit Lines of the beginning of example 2. mCS2R (m:I-IV-I-V)
                and add the Orbit Lines of 3. mCS2Rx (m:I-IV-V-I), one Orbit Line Lower than those of CS2R,
                     so that the lines all go down a little during the completem:I-IV-I-V-I-IV-V-I.
           Then, choose the Orbit Line which "closes" (ends on the tonic note C), place it in the Soprano,
                and place the 2 other lines in the Alto and Tenor, in close position,
                     as you did in the Major Mode.
           Finally, transpose this to Gm, a more suitable key for performance.
      7. It is also possible to do something quite neat to the previous example as you did in the Major Mode,
                producing them:I-IV-I-V-iii-IV-V-Ichord pattern.
           Don't forget the F# followed by the F (inm:V - iii) in the Alto Voice.
                This is really nice Triad writing.

We hope that our indications have been both clear and helpful.
      Let usknowif they have not.

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