Minor Key Revisited

Introduction

Week 11 is now here. In this lesson we will be talking about minor key music. We will be looking first at the functional groupings in minor key music involving the natural, harmonic, and melodic minor scales. Then we dig into the harmony from the Dorian and Phrygian modes. We'll also analyze four songs that use minor key harmonies and the techniques that are used.

This is also the week that you will need to start thinking about your Final Project. This will be due at the end of the course.

Objectives

By the end of the lesson, you will be able to:

The Saddest of All Keys: A Review of Minor Key Functions

Berklee Trustee Christopher Guest (as Nigel Tufnel) demonstrates D minor “the saddest of all keys.”

The concept of functional groups of chords—tonic, subdominant, and dominant has been a recurring theme throughout these courses. The concept isn't difficult to grasp within the context of a major key. But in a minor tonality, the regularly occurring chromatic tones that are considered diatonic (6, 6, 7, 7)—beyond those in the key signature—can make sorting out the groupings a little more challenging. In this topic we'll review the basic functions and review them in the natural, harmonic, and melodic minor scales before tackling further modal colors in the topics to follow. We'll show a single song—"Sometimes I Feel Like a Motherless Child"—harmonized with a variety of tonic, subdominant, and dominant functions of each of the scales and then a final composite version mixing functions from all three scales. In the workshop you'll have the chance to try your hand harmonizing another minor key melody in the same manner.

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View "A Mach Piece (in D minor)" by Nigel Tufnel of Spinal Tap movie clip

Natural Minor or Aeolian Harmony

Working with just the notes of the natural minor scale, we can establish three distinct groups of chords that will create a sense of progression. The tonic function is the most stable of the three functional groups. It functions as home base in the key. The tonic family is inclusive of those chords that include the scale degrees 1, 3, and 5. And have at least 3 and 5 as their root and 3^rd. In the natural minor scale, I- (and its variant I-7) are the tonic chord. By this definition, the alternate tonic chords are III and IIImaj7. The alternate tonic can substitute syntactically for the I- chord or it can be used to prolong the tonic sound as in the progression I- to III.

Tonic Function Group:

The subdominant group is more or less defined by scale degree 6. Those diatonic chords that contain 6 as root, 3, or 5 are considered members of the subdominant function group. The subdominant functional group in natural minor consists of IV- (and its variant IV-7), II-75, VI, and VI maj7. IV-6 is also a subdominant chord. It is an inversion of II-75. These chords are largely interchangeable within a progression. That being said, the IV- chords have the strongest subdominant identity followed by the II-75 chord. Because of its root relationship with the tonic, the VI chord has a weaker subdominant identity.

Subdominant Functional Group:

The absence of a leading tone in the natural minor scale means that the scale lacks a true dominant function chord. However, there are a few chords that are different enough from both the tonic and subdominant function chords in sound that they will create the necessary polarity for harmonic cadences.

Modal Cadence Chord Group:

V- and V-7 are valuable as cadence chords because their roots are a perfect 5^th above the tonic. The V-7 chord contains a dissonant minor 7^th interval which has the tendency to contract to the root and third of the I- chord. This gives it just a little more power as a cadential chord than the V- triad.

The VII triad will perform well as a cadence chord because all of its tones are a step below those of I-. The lack of common tones creates a fresh sound in the move from one chord to the next. This provides the necessary contrast for a cadence. The VII7 can be a little problematic as a cadence chord because of its strong aural association with the relative major. It is more common to see the VII triad used as a cadence chord in a natural minor setting. For the sake of clarity we will identify V-, V-7, and VII as modal cadence chords in natural minor. The VII7 can also be used as a cadence chord in natural minor but one needs to be aware of its potential to tonicize the relative major.

The chord scales for each of these harmonic functions are derived directly from the source. Each chord scale is a mode of the natural minor.

"Sometimes I Feel Like a Motherless Child" Natural Minor Harmonization

The following is a harmonization of the spiritual "Sometimes I Feel Like a Motherless Child." The chords are drawn solely from the resources of the natural minor scale.

At a moderately slow tempo, the 10 measure melody groups naturally into five two-bar phrases both melodically and harmonically. In the first phrase the tonic harmony is stated and prolonged by the inversion, in the second, IV- moves to I- in a plagal cadence. In phrase three, III progresses to VImaj7 for a contrasting tonic to subdominant move. In the fourth phrase, I- to V-7 creates a modal half cadence. The final phrase concludes in a full modal cadence I- to VII to I-.

Harmonic Minor Harmony

In the harmonic minor scale, the tonic chord is once again I-. While I-maj7 is an option, it's probably best to think of the triad as the primary tonic chord. If a varied bass note is called for, a first inversion tonic triad is best. The III+ chord is diatonic but better left to the melodic minor family.

Tonic Function Group:

Subdominant chords are identical to the natural minor collection: IV-, IV-7, II-75, VI, and VImaj7.

Subdominant Function Group:

The harmonic minor material provides a leading tone and with it a true dominant sound. The dominant functional group consists of V, V7, VIIº, and VIIº7. The dominant function chords provide us with the possibility of true tonal (rather than modal) progressions.

Dominant Function Group:

The chord scales for each of the following harmonic functions are derived directly from the source. Each chord scale is a mode of the harmonic minor scale.

All other functions derive their chord scales from the natural minor source.

"Sometimes I Feel Like a Motherless Child" Harmonic Minor Harmonization

Here is "Sometimes I Feel Like a Motherless Child," this time harmonized with chords exclusive to the harmonic minor collection.

In phrase one, the tonality of A minor is clearly confirmed by a full dominant cadence. Phrase two offers the contrast of beginning on the subdominant IV- chord and then once again cadences fully to I-. Phrase three offers the contrast of an ascending stepwise bass line that alternates tonic and subdominant colors. Phrase four returns to the tonic, ending in a subdominant half cadence. Phrase five offers a lot of harmonic motion, the VIIº7 chord provides a lift to the melodic pickup to tonic. The phrase then concludes with the cycle 5 strength of a full minor jazz cadence.

Melodic Minor Harmony

The melodic minor collection with its raised 6^th and 7^th degrees is designed consciously to mimic the harmonic resources of the major scale as closely as possible. Since the only thing that distinguishes the melodic minor from the major scale is the 3 scale degree, the functional groups are very similar. Those chords built on scale degrees 1, 3, and 6 are all a part of the tonic function group.

Tonic Function Group:

The Subdominant Group Is Based on Scale Degrees 2 and 4:

And 5 and 7 Are the Roots Associated with the Dominant Function Group:

The chord scales for each of the following harmonic functions are derived directly from the source. Each chord scale is a mode of the melodic minor scale.

V7 in the minor key is almost exclusively derived from the harmonic minor source.

"Sometimes I Feel Like a Motherless Child" Melodic Minor Harmonization

A third harmonization of "Sometimes I Feel Like a Motherless Child" shows the vocabulary of the melodic minor collection applied exclusively.

The distribution of tonic, subdominant, and dominant functions in this version of the tune is not all that different than in the second. The notable thing about the melodic minor scale is the bright timbres that are created by scale degrees 6 and 7 in relation to 3. In phrase four, the tonic F-75 and the subdominant D13 chord are remarkable for their novel colors. When dealing exclusively with melodic minor harmony it is important to try to maintain degrees 6 and 7 in the same voice as much as possible creating a stepwise melodic line. Listen to phrase three in particular where the G is heard in the tenor and then F in the soprano voice of the accompanying chords. This sort of voice exchange can cause potential balance problems with the melody.

Composite Minor Scale Harmony

In common practice, none of these collections—natural, harmonic, or melodic minor, is used very often as the exclusive source of harmony in a single minor key composition. Composers use colors from all three collections (as well as chords from other modes that we'll discuss later in the lesson). Theorists refer to this as the composite minor scale.

"Sometimes I Feel Like a Motherless Child" Composite Minor Harmonization

Here's "Sometimes I Feel Like a Motherless Child" one final time, harmonized with tonic, subdominant, and dominant functions from all three sources as well as cadence chords from the natural minor or Aeolian scale.

Having this knowledge gives the composer the option to create a functional tonal chord progression and to include a wide variety of shades of color within the minor tonality. Listen carefully to the alternation of dark to bright tonic color in m. 2 and the change from bright to darker subdominant color in m. 3. Phrase three makes use of only subdued natural minor color while phrase four employs very bright tonic and subdominant colors. Notice the use of the IV7 chord in the final cadence in phrase five. This brings a different twist to the familiar cadential pattern: iv-V7-i. The composite minor scale also allows for strong descending chromatic motion to help energize the chord progression. Note the descending chromatic bass line in phrase one and the alto line in the phrase five.

The Expanded Harmonic Options of the Composite Minor Scale

Let's revisit the idea of tonic, subdominant, and dominant functional groups from the perspective of the composite minor scale. The tonic options are now all of the chords built on 1, 3, and 6. The subdominant options are those built on 2, 4, and 6. The dominant and modal cadence chord options are those chords built on 5, 7, and 7.

Summary

Workshop: "Wayfaring Stranger" Harmonization

Download the lead sheet for "Wayfaring Stranger." Harmonize the melody with a variety of tonic, subdominant, modal cadence, and dominant function chords. Pay close attention to the melody/harmony relationship, taking care with harmonic avoid notes. Try to use the three basic tonal sentences: Tonic-Dominant-Tonic, Tonic-Subdominant-Tonic, or Tonic-Subdominant-Dominant-Tonic as you harmonize the melody. Compare your version to the example below. Please note that there are many possible outcomes.

Download "Wayfaring Stranger" lead sheet (PDF)

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Light and Dark: Dorian and Phrygian Modal Choices in Minor Key Music

Control of color is so important for all artists. For the composer, employing just the right shade of harmonic color can affect both the mood and emotion of the listener in dramatic ways. This topic will deal with further modal colors in the minor tonality.

Light and Dark

Although the natural minor scale, the scale of the key signature, is the starting point for thinking about minor key harmony, we have seen how most minor key music contains chords from other sources as well. In the previous topic we identified the tonic, subdominant, and dominant functional families from the natural minor, harmonic minor, and melodic minor source scales. Additionally, we identified modal cadence chords from the natural minor source which are used commonly. In this topic we will continue to expand the possibilities of minor key harmony by investigating the colors available to us from the Dorian and Phrygian modes. These modes are considered minor scales because they each have a minor tonic triad.

Dorian Minor Harmony

Consider the following musical examples:

1. Straight 8^ths

2. Swing

They are both clearly minor in character, but they project a different mood than other minor chord progressions that we have studied up until now. How would you characterize that sound? Cool? Jazzy? The sound of '60s and '70s pop, perhaps?

Light and Dark

Dorian Scale

The Dorian scale is another important source for tonic function chords in minor key.

Dorian Minor Source Scale:

Similar to the melodic minor scale, in that it has a raised scale degree 6, it lacks the leading tone or raised 7 that the melodic minor scale also has. Because of this, the Dorian scale occupies a place on the spectrum of color between the natural minor and melodic minor scales.

Its 7^th degree offers a strong downward melodic tendency, while the raised 6 gives the scale a somewhat brighter character. Like the natural minor, it provides us with a I–7 chord, however the Dorian source yields a slightly different set of tensions. We now have a tension 13 instead of the harmonic avoid tone s6 offered by the natural minor.

C Dorian: The Chord Scale for I-6 and I-7 in C minor:

I–6 is a variation of I–7. 7 is an avoid note when voicing I–6, but it is melodically distinctive when positioned correctly as an approach tone. Consider the difference between these two examples:

1. Dorian Melody

2. Melodic Minor Melody

In this instance, the melodic minor melody sounds quite contrived, but the Dorian melody feels much more natural against the C-6 harmony. The downward melodic tendency of 7 in the Dorian example feels appropriate to the overall contour of the tune. The I-7 and I-6 chords from the Dorian source scale are often used in jazz and other styles which bear its stylistic influence. The Dorian tonic sound was a favorite of pop and rock musicians throughout the '60s and '70s. Carole King, the Beatles, Chicago, Van Morrison, and many others wrote chart topping tunes that featured the Dorian sound.

Check out this Spotify playlist of popular songs in the Dorian mode. You may recognize the first two songs from the first examples we examined.

Other Tonic Options with Dorian Minor

VI-75 and IIImaj7 are the other Dorian tonic function chords. VI-75 is used most often in progressions to prolong the tonic. The following progression mimics I VI- II-7 V7 in the major key, something not possible in the natural minor because the VI chord has a subdominant rather than tonic function. We need that raised scale degree 6 to make the difference!

The III chord is used similarly. The following progression mimics the major key progression I III- IV V7.

Using the III chord as a prolongation of I- and positioning it on weak stresses within the harmonic rhythm of the phrase helps to ensure that it will not be heard as the tonic I chord of the relative major. The T11 provided by the Dorian scale produces a Lydian sound that also helps to warrant against tonicization of III. Many minor key tunes use the relative major for contrasting sections such as the bridge or chorus. However, if we want to stay firmly in the minor tonality, it is best to take care with IIImaj!

With both VI-75 and IIImaj, the standard available tension rule applies: notes that are a major 9^th above a chord tone are available.

Summary of Tonic Function Chords Provided by the Dorian Source Scale

A Brighter Minor Subdominant

The Dorian mode is also the source of three colorful minor-key subdominant chords: II–7, IV6, and IV7. IV6 is essentially II–7 in first inversion, but it is often written as a root position chord in popular styles.

Subdominant chords derived from Dorian are viable in minor key harmony because of their similarity to major key subdominant chords. They bring a hint of major key brightness into a minor key progression without disturbing the overall mood.

The Dorian source scale provides only tension 11 for II–7. 2 and 6 are avoid notes.

The Dorian source scale produces tensions 9 and 13 on IV7. S4 is avoided in chord voicings.

Compare Dorian with Melodic Minor

As we saw previously, the melodic minor scale also offers the options of II–7 and IV7. Because of the inclusion of the leading tone, the tensions are slightly different than the same chords from a Dorian source.

As you might imagine, it is important to think in the context of a particular source scale when using these chords in the minor key. When handled skillfully, they provide the composer with a varied palette of colors. And as the saying goes, "variety is the spice of life!"

The Phrygian Source: A Darker Subdominant Chord

Compare these two passages:

Passage 1.

Passage 2.

The first excerpt, as you can see, uses the subdominant Dorian scale as the source of its harmony, the second sources Phrygian. How would you compare the sound of the two passages? Which is the brighter in mood? Which is the darker of the two?

The Phrygian mode is the source of another, less common subdominant function chord: IImaj7.

IImaj7 is similar to II–75. Both chords share three notes with the most common minor key subdominant chord: the IV– triad.

The tensions associated with IImaj7 are T9, T11, and T13. It has no harmonic avoid tones.

Dark Light

The IImaj7 is an exotic-sounding subdominant chord that evokes the sound of Spanish Flamenco music. It is most often encountered in the minor key as a modal cadence chord because of its strong half step root movement. In contemporary pop and jazz language it is not used as a predominant chord. It is never used in place of II–75 as part of a II-V pattern as the intervals in the root motion would not all be perfect 5^ths. However, in classical music, II is often used as a predominant chord in the first inversion. We know it as the Neapolitan 6^th chord.

Summary of Subdominant Function in Minor Key Music

Here's a summary of subdominant funtion in minor key music:

Songs for Further Study

Dorian:

Phrygian:

Workshop: Minor Key Analysis

Download the PDF and analyze the chord progressions giving both Roman numeral analysis and functional analysis as directed. Check your answers against the answer key. Be sure to play the exercises on the keyboard so that you can hear them!

Download Minor Key Analysis (PDF)

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Reveal Workshop Answers (Page 1)

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The Expanded Minor Universe: A Review of the Complete System of Minor Key Harmony

Universe

We have explored a lot of territory up to this point with regard to harmony in minor tonality. From the notes of the key signature—the natural minor or Aeolian scale, to sophisticated chromatic options involving 6, 6, 7, and 7, to different exotic modal colors. Furthermore, we have discussed secondary dominant and substitute dominants in the minor key—chords related to the diatonic that help to create motion within the tonality. This adds up to a large number of options from which to choose. Perhaps not as large as the entire universe, but still a sizable array that needs to be categorized and stored mentally so that when inspiration strikes (or more likely the deadline looms) the proper tools and colors will be at the composer's disposal.

In this topic we'll present an overview in chart form of all of the minor key materials that are available. You should take the time to commit this material to memory. The workshop will contain a multiple-choice test so that you can check your memory and comprehension of the information. The key to using this material is to organize it mentally around functional categories: Tonic, Subdominant, Modal Cadence, and Dominant Functions. Secondary Function chords: secondary dominants and substitute dominants.

Diatonic Chords: Tonic, Subdominant, and Dominant Function Groups

Diatonically Related Chords

Master the universe! Learn your minor key functions!

You Are Here

Under Close Inspection: Four Analyses of Minor Key Tunes

Detective

In this topic we'll closely analyze four well-known tunes in different styles. Each of them is in the minor mode and employs rich colorful choices from the large vocabulary of chords that we have been discussing in this lesson. You'll have an opportunity to see how each composer has used many different minor key options to create a specific sound in each tune. As you look at each piece, try to notice how the minor key tonality is established. What harmonic sentence does the composer use? Is it SD D T, or T T SD D, or something else, perhaps? How does each composer create harmonic variation? How does each use chromaticism and to what effect?

Jimi Hendrix’s “Little Wing”

Jimi Hendrix

First off is Jimi Hendrix's "Little Wing" from the album Axis: Bold as Love. In this song, Hendrix uses chords from the Aeolian or natural minor source scale almost exclusively. There are two exceptions: the subV/IV at the end of m. 5 creates a lovely little slide down into m.6. Notice how the VI chord becomes a pivot to the relative major. The other non-Aeolian change is the modal cadence chord VII moving to IV in m. 9. The V chord in m. 10 is in turn the pivot chord back to E-, serving as VII in the parent key.

Jimi Hendrix. "Little Wing." from Axis: Bold as Love. (Track/1967).

Sting's “Sister Moon”

Sting

Another interesting minor key tune is found on Sting's album Nothing Like the Sun. "Sister Moon" starts out with a repeated vamp from the melodic minor source scale in F-: I-(maj7) IV7. This vamp repeats throughout much of the verse. Beginning in m. 14, an unusual progression based on ascending bass motion 5, 6, 6, 7, 7, 6, 3, 5, 5, leads back to the vamp. A direct modulation in m. 27 to B- offers a different vamp—this time I- V7. The modal cadence chord V-7 in m. 31 leads to VI which serves as the pivot chord back to F- and a return to the original vamp.

Sting. "Sister Moon," from Nothing Like the Sun. (A&M/1987).

Bill Evans' “We’ll Meet Again”

Bill Evans

The Bill Evans tune "We'll Meet Again" from the album You Must Believe in Spring, offers a variety of different tonic and subdominant functions. The minor II V cadence is an important device in this piece.

Bill Evans. "We'll Meet Again" from You Must Believe in Spring. (Warner Bros./1979).

Chucho Valdes’ “Claudia”

Chucho Valdés

Chucho Valdes' tune "Claudia" from the Paquito De Rivera album Reunion offers complex minor key harmony. Note the use of the secondary dominants V7/V, V7/IV, V7/VI, V7/III, and subV/V. There are a number of deceptive resolutions of secondary dominants in this piece as well. Notice how cleverly he uses the feint (deceptive or distracting movement) from the V7/VI to an unexpected VI-75. The composer sometimes resolves the V7/VI as expected and in other phrases makes a deceptive resolution to VI-75.

Chucho Valdes. "Claudia" from Reunion. (Messidor/1991).

Scrutinize each of these pieces thoroughly. Notice how the composers use different aspects of minor source harmonies such as natural minor, melodic minor, and harmonic minor to create different moods.

Workshop: “To the Bitter Dregs” Analysis

Analyze "To the Bitter Dregs" and check your analysis against the PDF.

Slideshow

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r1c1	r1c2
r2c1	r2c2

Download To the Bitter Dregs score (PDF)

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Reveal Workshop Answers

Composers on Composing: Completing a Composition

In lesson 11, three composers share their thoughts in answering the question:

How do you decide when a composition is done?

Composers interviewed in week 11:

Mark Simos—Singer, songwriter
Michael Wartofsky—Musical theater composer
Julius Williams—Contemporary classical music composer and conductor

Final Scoring Project (Due Lesson 12)

General directions: Compose a piece using AABA, rounded binary (|A|BA'|), or theme and variations form to support a short film entitled Fazi, which clocks in at 2:30. The director (a theory geek) insists that the composition must include a modulation to a distant key (more than one sharp or flat away from the original key), at least one secondary dominant function diminished 7^th chord, one modal interchange chord, and one substitute dominant or augmented 6^th chord. The director also insists on having a principal motif that is developed using techniques covered in Music Theory and Composition 2's "Melody Corner" topics, that included repetition, diatonic or exact sequence, retrograde, inversion, intervallic variation, and rhythmic variation.

Scenario: Imagine that you have been asked to compose a song or composition to enhance the movie Fazi. The movie is two minutes and 30 seconds in length. Fazi is a somewhat surreal, quirky short film about a young man going through an existential awakening. There is no dialog, so your music will be important in creating the proper mood. Given its length, there is time for a short introduction, and depending on your tempo, one or two times through the form, and a short ending or coda. As with the other scoring assignments, you are not being graded on how well the music fits with the movie, but on the technical aspects of the assignment.

Start by dragging L11_ FinalAssignment.mov into your DAW. As with previous scoring assignments, a demo movie and score (Final Assignment Demo Score) have been provided. All of the instruments used in the demo are GarageBand instruments. Your project must use one of the following short forms: AABA, rounded binary (|A|BA'|), or theme and variations.

Download Final Assignment Movie (MP4)

Download Final Assignment Demo Score (PDF)

Your work will be evaluated on the following criteria:

Recap

In this lesson you learned:

In our final week coming up, we'll be diving deeper into the blues by looking at further options of the 12-bar minor blues and exploring new forms.