983:
752:
806:
854:
194:
169:
154:
795:) is only about two cents narrower than the justly tuned perfect fifth (3:2, or 702.0 cents), but the minor third (300 cents) is noticeably (about 16 cents) narrower than the just minor third (6:5, or 315.6 cents). Moreover, the minor third (300 cents) more closely approximates the
825:
proposed that the conflict between mathematicians and physicists on one hand and practicing musicians on the other regarding the supposed inferiority of the minor chord and scale to the major may be explained due to physicists' comparison of just minor and just major triads, in which case minor comes
303:
between '2nd and 3rd note' and between '5th and 6th note' as compared to the major scales where the difference between '3rd and 4th note' and between '7th and 8th note' is ." This alteration in the third degree "greatly changes" the mood of the music, and "music based on minor scales tends to" be
984:
202:
753:
203:
807:
835:
major third is about 14 cents sharp from the just major third (5:4, or 386.3 cents), but only about 4 cents narrower than the 19 limit major third (24:19, or 404.4 cents); while the
311:
considers minor as, "the immutable faculty of ratios, which in turn represent an immutable faculty of the human ear." The minor key and scale are also considered less justifiable than the major, with
1054:
77:
The words derive from Latin words meaning "large" and "small," and were originally applied to the intervals between notes, which may be larger or smaller depending on how many
364:
Musical tuning of intervals is expressed by the ratio between the pitches' frequencies. Simple fractions can sound more harmonious than complex fractions; for instance, an
326:
are often analyzed as minor changes unless structurally supported because the root and overall key and tonality remain unchanged. This is in contrast with, for instance,
200:
892:
of the minor triad is thus considered the top of the fifth, which, in the United States, is called the fifth. So in C minor, the tonic is actually G and the
917:, with, for instance, in C, A minor being considered the tonic parallel (US relative), Tp, the use of minor mode root chord progressions in major such as A
81:(half-steps) they contain. Chords and scales are described as major or minor when they contain the corresponding intervals, usually major or minor thirds.
1051:
201:
902:(a half step), rather than, in major, the root being C and the leading tone B (a half step). Also, since all chords are analyzed as having a
289:
of those keys consist of the corresponding chords; however, a major key can encompass minor chords based on other roots, and vice versa.
117:, fourths, fifths, and octaves and their compound interval must be perfect (or, rarely, diminished or augmented). In Western music, a
1265:
977:
952:
826:
out the loser, versus the musicians' comparison of the equal tempered triads, in which case minor comes out the winner, since the
1202:
1151:
1038:
1293:
172:
157:
1366:
1092:
947:
372:
is the relatively simple 3:2 ratio. The table below gives frequency ratios that are mathematically exact for
930:
307:
Minor keys are sometimes said to have a more interesting, possibly darker sound than plain major scales.
168:
153:
1514:
778:
between the root and third, 4 between the third and fifth, and 7 between the root and fifth.
1396:
1195:
762:
1524:
1453:
957:
175:
160:
356:, considered to add color and weaken the sense of key without entirely destroying or losing it.
1359:
1330:
1323:
1111:
862:
327:
330:. Transposition is done by moving all intervals up or down a certain constant interval, and
1473:
1468:
1188:
1125:
1115:
822:
377:
8:
1230:
269:
257:
197:
Major and minor third in a major chord: major third 'M' on bottom, minor third 'm' on top
59:
1438:
1258:
1157:
1119:
1082:
285:
is major or minor. Major and minor keys are based on the corresponding scales, and the
110:
31:
845:
minor third closely approximates the 19:16 minor third which many find pleasing.
749:, a minor chord is often (but not exclusively) tuned in the frequency ratio 10:12:15 (
1352:
1147:
1139:
1088:
1034:
866:
304:
considered to "sound serious or melancholic," at least to contemporary
Western ears.
1519:
1483:
1406:
1391:
1223:
914:
911:
870:
316:
106:
63:
43:
976:
In the 16th through 18th centuries, prior to 12 TET, the minor third in
74:
may also be referred to by its key, including whether that key is major or minor.
1423:
1411:
1302:
1058:
746:
441:
373:
67:
1401:
1237:
774:
at present the most common tuning system in the West) a minor chord has 3
312:
234:
114:
71:
24:
20:
1508:
1493:
1316:
1286:
1167:
903:
853:
800:
671:
369:
343:
299:
explains, "the crucial difference is that in the minor scale there is only a
286:
242:
51:
47:
19:
This article is about the musical concept. For the academic disciplines, see
929:-major–C-major is analyzed as sP–dP–T, the minor subdominant parallel (see:
113:
based on them) may be major or minor (or, rarely, diminished or augmented).
1488:
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792:
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323:
308:
296:
282:
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The hallmark that distinguishes major keys from minor is whether the third
261:
185:
1121:
On the
Sensations of Tone as a Physiological Basis for the Theory of Music
1478:
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907:
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of the major mode, an upside down major scale based on (theoretical)
300:
109:. Only the intervals of a second, third, sixth, and seventh (and the
1448:
1375:
1309:
878:
874:
816:
796:
775:
90:
78:
1128:(reprint ed.). New York, NY: Dover Publications. p. 455.
1386:
238:
1085:: An Account of a Creative Work, Its Roots, and Its Fulfillments
322:
Changes of mode, which involve the alteration of the third, and
365:
1180:
1172:
Untersuchungen über die
Entstehung der harmonischen Tonalität
1344:
342:, which requires the alteration of intervals. The use of
174:
Audio playback is not supported in your browser. You can
159:
Audio playback is not supported in your browser. You can
346:
only available in the minor mode, such as the use of A
933:), the minor dominant parallel, and the major tonic.
249:, the third degree is a minor third above the tonic.
1105:
1103:
1101:
217:may also refer to scales and chords that contain a
1110:
1506:
1098:
260:, the third is a major third above the chord's
1360:
1196:
352:-major in C major, is relatively decorative
272:, the third is a minor third above the root.
1367:
1353:
1203:
1189:
1144:Studies on the Origin of Harmonic Tonality
1138:
1052:"Listening to Music: Lecture 5 Transcript"
188:major and (natural) minor scales on C
1146:. Princeton: Princeton University Press.
1073:
1071:
1022:
1020:
1018:
992:and much rougher than the 300 cent
953:Music written in all major or minor keys
852:
359:
192:
93:larger than a minor interval. The words
819:) with only about a 2 cent error.
319:calling it a "falsehood of the major".
1507:
1068:
315:calling it a "clouding" of major, and
1348:
1184:
1015:
815:or, 297.5 cents, the nineteenth
128:
865:, the minor mode is considered the
13:
1050:Craig Wright (September 18, 2008).
848:
14:
1536:
1033:, 6th Brief Edition, p. 46.
368:is a simple 2:1 ratio and a
948:List of major/minor compositions
198:
1210:
1132:
1044:
970:
763:12 tone equal temperament
233:is a scale in which the third
105:are also used to describe the
1:
1008:
241:) is a major third above the
1374:
791:the perfect fifth (700
171:
156:
84:
7:
936:
10:
1541:
857:Minor as upside down major
132:
18:
1397:Consonance and dissonance
1382:
1218:
1112:von Helmholtz, H.L.
963:
89:A major interval is one
1454:Otonality and utonality
1166:English translation of
1109:A.J. Ellis, writing in
958:Otonality and utonality
276:
176:download the audio file
161:download the audio file
1294:Names and translations
1031:Music: An Appreciation
858:
207:
121:"sounds darker than a
107:quality of an interval
873:rather than (actual)
863:Neo-Riemannian theory
856:
803:) minor third (19:16
730: 1088.3¢
380:seek to approximate.
378:meantone temperaments
360:Intonation and tuning
196:
1474:Schenkerian analysis
1469:Progressive tonality
978:meantone temperament
980:was 310 cents
270:minor seventh chord
258:major seventh chord
1412:Secondary function
1140:Gjerdingen, Robert
1083:Genesis of a Music
1057:2010-08-04 at the
859:
208:
111:compound intervals
1515:Intervals (music)
1502:
1501:
1407:Diatonic function
1342:
1341:
1266:Music in all keys
1153:978-0-691-09135-8
1063:Open Yale Courses
1039:978-0-07-340134-8
741:
740:
204:
180:
165:
129:Scales and chords
34:, the adjectives
1532:
1484:Tonality diamond
1392:Circle of fifths
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1224:Circle of fifths
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1124:. Translated by
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317:Moritz Hauptmann
252:Similarly, in a
225:, respectively.
206:
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42:may describe an
16:Musical concepts
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1539:
1535:
1534:
1533:
1531:
1530:
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1504:
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1434:Major and minor
1424:Just intonation
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1252:Major and minor
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1231:Closely related
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1059:Wayback Machine
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849:Advanced theory
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374:just intonation
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133:Main articles:
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28:
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1525:Musical scales
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1402:Diatonic scale
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1238:Diatonic scale
1234:
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931:parallel chord
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313:Paul Hindemith
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130:
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25:Academic minor
21:Academic major
15:
9:
6:
4:
3:
2:
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1494:Voice leading
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1168:Carl Dahlhaus
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1093:9780786751006
1090:
1087:, pp. 89–90.
1086:
1084:
1079:
1078:Partch, Harry
1074:
1072:
1064:
1060:
1056:
1053:
1047:
1040:
1036:
1032:
1028:
1027:Kamien, Roger
1023:
1021:
1019:
1014:
1001:minor third.
988:
979:
973:
969:
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949:
946:
944:
941:
940:
934:
932:
916:
913:
909:
905:
895:
891:
886:
884:
881:) (See also:
880:
876:
872:
868:
864:
855:
846:
824:
820:
818:
811:
802:
798:
794:
779:
777:
764:
757:
748:
732:
729:
727:884.4¢
722:
720:702.0¢
715:
713:498.0¢
708:
706:386.3¢
701:
699:203.9¢
694:
676:
673:
668:
667:Interval size
665:
664:
655:
650:
645:
637:
629:
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619:
611:
608:
603:
602:Interval name
600:
599:
579:
560:
541:
522:
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484:
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329:
328:transposition
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69:
65:
61:
57:
53:
49:
45:
41:
37:
33:
32:Western music
26:
22:
1489:Tonicization
1464:Polytonality
1459:Parallel key
1433:
1419:Figured bass
1251:
1171:
1143:
1134:
1120:
1081:
1062:
1046:
1030:
972:
894:leading tone
887:
860:
821:
780:
744:
666:
606:
601:
436:
428:
423:
418:
413:
408:
403:
398:
393:
388:
363:
354:chromaticism
338:but not the
331:
324:mode mixture
321:
309:Harry Partch
306:
297:Roger Kamien
294:musicologist
291:
283:scale degree
280:
235:scale degree
214:
210:
209:
102:
98:
94:
88:
76:
39:
35:
29:
1479:Sonata form
1444:Neotonality
1324:Transposing
1303:Theoretical
1212:Musical key
1162:j.ctt7ztxzh
1126:Ellis, A.J.
1116:Ellis, A.J.
943:Gypsy scale
908:subdominant
733: 1200
657:perf
639:perf
631:perf
613:perf
334:change the
287:tonic triad
266:minor triad
254:major triad
247:minor scale
245:note. In a
231:major scale
223:minor third
219:major third
147:Minor chord
143:Major chord
139:Minor scale
135:Major scale
123:major chord
119:minor chord
60:composition
1509:Categories
1439:Modulation
1331:Instrument
1259:Modulation
1009:References
871:undertones
823:A.J. Ellis
99:diminished
1287:Signature
1245:Homotonal
883:Utonality
879:harmonics
875:overtones
776:semitones
737:¢
442:just int.
389:Note name
301:half step
103:augmented
85:Intervals
79:semitones
1449:Ostinato
1376:Tonality
1310:Tonality
1280:Relative
1273:Parallel
1142:(1990).
1118:(1954).
1080:(2009).
1055:Archived
1029:(2008).
937:See also
926:♭
923:-major–B
920:♭
915:function
912:dominant
899:♭
817:harmonic
797:19-limit
376:, which
349:♭
186:Parallel
91:semitone
64:movement
44:interval
1520:Harmony
1387:Cadence
1174:(1968).
867:inverse
861:In the
723:
716:
709:
702:
695:
677:
594:
582:
575:
563:
556:
544:
537:
525:
518:
506:
499:
487:
480:
468:
461:
449:
264:. In a
239:mediant
115:Unisons
95:perfect
68:section
1160:
1150:
1091:
1037:
761:). In
692:
605:(from
366:octave
344:triads
145:, and
101:, and
72:phrase
1317:Tonic
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910:, or
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370:fifth
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237:(the
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1148:ISBN
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585:2
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1164:.
1095:.
1065:.
1041:.
877:(
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660:8
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588:/
569:/
550:/
531:/
512:/
493:/
474:/
455:/
440:(
429:C
424:B
419:A
414:G
409:F
404:E
399:D
394:C
178:.
163:.
27:.
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