1. Minor Keys and Diatonic Modes
Week 1.6

2. Vocabulary

3. 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 WWHW
Minor Pentachord is Do Re Me Fa Sol or 1 2 b 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

6. 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)

10. **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.

11. Joplin Pine Apple Rag

12. Chopin Mazurka Op 68 No 4

13. Schumann, Wilder Reiter

14. Schumann, C. Liebst du um Schonheit

15. Handel, Chaconne Variations 15-16

17. 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

18. 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

19. 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

21. 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

22. 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

24. 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)

25. 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

26. 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

28. 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.

30. 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)

31. 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

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