Minor Keys and Diatonic Modes Week 1.6

Vocabulary

Pentachords: Parallel Keys Scale degrees 1, 2, 3, 4, 5 First five notes of the scale make up the pentachord (not pentatonic scale!!) Scale degrees 1, 2, 3, 4, 5 Major Pentachord is Do Re Mi Fa Sol or 1 2 3 4 5 WWHW Minor Pentachord is Do Re Me Fa Sol or 1 2 b3 4 5 WHWW Differ only by 1 note, all other four notes are the same Parallel Keys Keys that share the same tonic note but have a different pentachord The third scale degree of the minor pentachord is a half-step lower that the third scale degree of the major pentachord Parallel keys will have different key signatures but the same tonic! Key signatures of parallel keys differ by three accidentals Sharps-subtract Flats-add

Relative Keys Keys that share the same key signature and diatonic collection but have different tonics. The relative minor of any major key is a minor third (three half steps) below the major key. The tonic of the relative minor is scale degree 6 of the major key. The spelling of the minor key should conform to the spelling of its relative major! (f# is the relative minor of A major, not gb)

**Look at the scores on the following slides to determine if the piece is in major or minor. After making a decision, listen to the piece to check your answer by ear.

Joplin Pine Apple Rag

Chopin Mazurka Op 68 No 4

Schumann, Wilder Reiter

Schumann, C. Liebst du um Schonheit

Handel, Chaconne Variations 15-16

Write the scales bracketed in measures 41 and 45. The bottom pentachords are identical but the top tetrachords differ slightly. The first has a raised 6th and 7th scale degree The second has a lowered 6th and 7th degree Both are variations of the minor scale

Three different forms of Minor: Natural minor: the pitches exactly match the key signature Do, Re, Me, Fa, Sol, Le, Te Do 1, 2, b3, 4, 5, b6, b7, 1 W H W W H W W Harmonic Minor Do, Re, Me, Fa, Sol, Le, Ti, Do 1, 2, b3, 4, 5, b6, 7, 1 W H W W H A2(m3) H **Augmented second between the 6th and 7th scale degrees

Melodic Minor: Differs ascending and descending Ascending: Do, Re, Me, Fa, Sol, La, Ti, Do 1, 2, b3, 4, 5, 6, 7, 1 W H W, W, W, W, H   Descending: Do, Te, Le, Sol, Fa, Me, Re, Do 1, b7, b6, 5, 4, b3, 2, 1 W W H W W H W **Identical to natural minor

Distinctive characteristics of the scales Natural minor is marked by the absence of the leading tone. This problem is often solved by raising the 7th scale degree-leads to the harmonic minor scale The harmonic minor scale does not create very nice vocal lines because of the augmented 2nd between scale degrees 6 and 7. Because of this, the raised 7th is found more often in the accompanying harmony

Hearing Minor Scale Types: First: Listen for 3rd scale degree (Mi vs. Me) Mi=major Me= one of the forms of minor Second: Listen for 7th scale degree (Ti vs Te) Ti= either harmonic minor or melodic minor Te=natural minor Third: Listen for 6th scale degree (La vs. Le) La= melodic minor (only scale that sounds different descending) Le=harmonic minor

Writing Minor Scales: Three Methods Method One: Use the scale formula Bottom portion of the scale: Whole Step, Half Step, Whole Step, Whole Step Top portion of scale: Half Step, Whole Step, Whole Step (Natural Minor) Half Step, Augmented Second, Half Step (Harmonic Minor) Whole Step, Whole Step, Half Step (Melodic Minor-Ascending)

Method Two: Use the Relative Major Scale Scale assigned: G minor 1. Write notes G-G, No accidentals 2. Determine the accidentals in the relative major key signature (Bb major, 2 flats). Add these to the staff. 3. Add the appropriate accidentals to the top tetrachord. Harmonic Minor-raise 7 Melodic Minor-raise 6 and raise 7

Method Three: Use the Parallel Major Scale Scale assigned: G minor 1. Write notes G-G, No accidentals 2. Determine the accidentals in the parallel major key signature (G major, 1 sharp). Add these to the staff. 3. Add or subtract accidentals to make the appropriate variation of minor. Natural Minor-lowered 3, Harmonic Minor- Melodic Minor- lowered 6, lowered 7 lowered 3, lowered 6 lowered 3

Scale Degrees in Minor Raised 7th scale degree=leading tone Same as Major with two exceptions Raised 7th scale degree=leading tone Lowered 7th scale degree=subtonic Raised 6th scale degree= raised submediant **Because scale degrees 3, 6, and 7 create such a distinctive sound in each scale, they are sometimes referred to as the “modal scale degrees”. The terms “major mode” or “minor mode” are also sometimes used.

Modes of the Diatonic Collection Modes: Other sets of pitches that are not major or minor (The tonic note is neither the major or minor pitch)   There are 6 diatonic modes (Also called church modes)  Relative to major: The six diatonic modes share the same pitch set with major, but start and end on a different tonic 1st scale degree in major mode: IONIAN (Major) 2nd scale degree in major mode: DORIAN 3rd scale degree in major mode: PHRYGIAN 4th scale degree in major mode: LYDIAN 5th scale degree in major mode: MIXOLYDIAN 6th scale degree in major mode: AEOLIAN (Natural Minor) **7th scale degree in major mode: LOCRIAN (Do-Do) (Re-Re) (Mi-Mi) (Fa-Fa) (Sol-Sol) (La-La)

Parallel Modal Relationships Another way to hear modes is to hear them as variations of the traditional major or minor They are grouped into major or minor based on their pentachord

Dorian: Natural Minor mode, raised 6th scale degree Mixolydian: Major mode, lowered 7th scale degree