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Discuss this quote that's in a music theory book of mine...


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Well, first of all, "it's" shouldn't have an apostrophe in this case, as it's a possessive and not a contraction.

 

Secondly, in classical practice, harmony built from the fifth scale degree in minor is changed into a V7 chord (as opposed to a minor chord). In other styles of music, this isn't the case, but in classical practice, it is. This is the origin of the "harmonic minor" scale.

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"the V7 chord is always the dominant chord in both the minor and it's parallel major".


I know the dominant chord is the V7 chord in a major key, but the minor part in that quote isn't right is it?
:confused:

 

Actually it is.

 

The V7 chord in minor is indicative of the harmonic minor scale and melodic minor scale theory. By raising the 3rd degree of the v chord, the leading tone for the minor key is created (the 7th note of the minor scale). This is why the harmonic minor scale was initially created; the melodic minor scale does this as well, but smooths over the 3 1/2 step jump (the minor 3rd) occurring between the 6th and 7th scale degrees in the minor key as approaching tonic.

 

So in C minor the raised 3rd (major 3rd is actually only raised as it relates to the original G minor chord occurring in C minor, in G major it would be naturally a major 3rd) of the G7 chord--the B--creates the leading tone to the C.

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Well, first of all, "it's" shouldn't have an apostrophe in this case, as it's a possessive and not a contraction.


Secondly, in classical practice, harmony built from the fifth scale degree in minor is changed into a V7 chord (as opposed to a minor chord). In other styles of music, this isn't the case, but in classical practice, it is. This is the origin of the "harmonic minor" scale.

 

 

It is true that this practice of using a V7 originated in classical Western Art Music, but is also used in Rock (especially metal), and in Jazz quite a bit. It is important to keep it in mind when improvising or a train wreck might ensue!

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So basically they were referring to the Harmonic minor scale and i was wrong in thinking that they were referring to the natural minor scale?

In a sense yes. Really, they're referring to the minor KEY, which combines natural, harmonic and melodic minor.

Typically, the i, ii, III, iv and VI chords will be harmonised from natural minor and the V and vii chords from harmonic minor.

In jazz, the tonic (i) is normally harmonised from melodic minor.

 

So - in a conventional A minor key in jazz or pop (and often in rock too), the typical set of chords is:

 

i = Am, Am6, Am(maj7), Am(add9)

ii = Bdim, Bm7b5

III = C, Cmaj7

iv = Dm, Dm7

V = E, E7, E7b9

VI = F, Fmaj7

vii = G#dim7

 

In rock, Bm7b5 and G#dim7 would be rare (but very common in jazz).

 

In pop and rock music it's common to use a G (bVII, from natural minor) and a D/D7, or Bm/Bm7 (from dorian or melodic minor) - but still with that major (or dom7) V chord.

Occasionally you will get songs using chords totally from the natural minor, which might be better described as "Aeolian mode" rather than "minor key" - but rock is rarely that concerned with theoretical restriction! :rolleyes:

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