Minor chord

minor triad
Component intervals from root
perfect fifth
major third
minor third
Tuning
just - 10:12:15[1]
Forte no.
3-11[2]

A minor chord is a triad with a minor third and a perfect fifth above its root. The minor triad built on C is spelled C–E♭–G.

Structure

The minor chord timbre is sometimes described as darker than its major counterpart.[3] The primary intervals in a minor chord are the minor third above the root, and the perfect fifth above the root. There is a major third between the third and fifth.[4] It is a tertian chord because it is built in thirds.[5]: 458 

In harmonic analysis and on lead sheets, a major chord is often indicated by the letter of its root.[6] A minor triad is represented by the integer notation {0,3,7}.[2]

Just intonation

Just minor chordⓘ Quarter-comma meantone minor third on Cⓘ Supertonic minor triad on Cⓘ Septimal minor triad on Cⓘ

Pythagorean minor triad on Cⓘ
Audio samples of just intonation

In just intonation, a minor chord is tuned in the frequency ratio 10:12:15, reflecting an appearance of the minor chord in the harmonic series.[7] The ratio was refined to 10/9:4/3:5/3 by Ben Johnston.[8] In a just scale, the triad appears on iii, vi, ♭vi, ♭iii, and vii.[9]

A justly tuned perfect fifth is 702 cents, compared to 700 in equal temperament. The just minor third is 316 cents, where the equal interval is 300.[5]: 455 

Alternate just minor chord tunings include:

  • 16:19:24[10]
  • 6:7:9[5]: 468 [11]
  • The Pythagorean minor triad: 54:64:81.[10]

Georg Andreas Sorge derived the minor chord from the confluence of two major triads such as F-A-C and C-E-G. An A minor triad arises from the connection.[12] He pointed out that overtones 10, 12, 15, and 18 of the harmonic series form a minor seventh chord.[13]

See also

References

  1. ^ Shirlaw, Matthew (1955). The Theory of Harmony. Dekalb, Illinois: Birchard Coar. p. 82.
  2. ^ a b Straus, Joseph Nathan. Introduction to Post-tonal Theory. Prentice Hall, 2000. 49.
  3. ^ Kamien, Roger (2008). Music: An Appreciation (6th brief ed.). McGraw-Hill Education. p. 46. ISBN 978-0-07-340134-8.
  4. ^ Tapper, Thomas. First Year Harmony. Arthur P. Schmidt, 1908.
  5. ^ a b c Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music. London: Longmans Green, 1912.
  6. ^ Benward, Bruce, and Saker, Marilyn. Music in Theory and Practice, Volume 1. McGraw-Hill Education, 2008. 85.
  7. ^ Hauptmann, Moritz (1888). The Nature of Harmony and Metre. Swan Sonnenschein. p. 15.
  8. ^ Johnston, Ben; Gilmore, Bob (2006) [2003]. "A Notation System for Extended Just Intonation". "Maximum Clarity" and Other Writings on Music. University of Illinois Press. p. 78. ISBN 978-0-252-03098-7.
  9. ^ Wright, David (2009). Mathematics and Music. American Mathematical Soc. pp. 140–141. ISBN 978-0-8218-4873-9.
  10. ^ a b Ruland, Heiner (1992). Expanding Tonal Awareness. Rudolf Steiner Press. p. 39f. ISBN 978-1-85584-170-3.
  11. ^ White, Paul James. "Is Perfect Intonation Practicable? II", Music: a Monthly Magazine Devoted to the Art, Science, Technic And Literature of Music, Volume VII. November 1894–April 1895. Chicago: The Music Magazine Publishing Company, 1895. 608.
  12. ^ Lester, Joel (1994). Compositional Theory in the Eighteenth Century. p. 194. ISBN 978-0-674-15523-7.
  13. ^ Bleyle, Carl O. Georg Andreas Sorge's Influence On David Tannenberg And Organ Building Inamerica During The Eighteenth Century. University of Minnesota, 1969. I-25.
This article is issued from Wikipedia. The text is available under Creative Commons Attribution-Share Alike 4.0 unless otherwise noted. Additional terms may apply for the media files.