musicianship notes pt 2

Minor Mode and Secondary Dominance

Overview of Minor Mode and Tonicization

  • Discussion centers around using minor mode and how secondary dominances function within this context.

  • Tonicizing a major key from a minor key is discussed as being notably pronounced.

  • Focus is placed on the natural minor scale, which forms the foundation for the chords to be analyzed.

Chord Structure in Natural Minor

  • Chord Qualities:

    • 1 (i): Minor tonic

    • 2 (ii°): Diminished tonic

    • 3 (III): Major tonic

    • 4 (iv): Minor subdominant

    • 5 (V): Major dominant

    • Additional notes on incorporating flat sixth (♭VI) and flat seventh (♭VII) leading back to 1 (i).

Secondary Dominances in Minor Mode

  • Skipping Diminished Tonicization:

    • The minor chord on the 7th scale degree is diminished (). Therefore, tonicizing this diminished chord is typically unproductive as it rarely functions as a tonic.

    • Results in a dissonant sound that feels awkward in both minor and major modes.

    • For example, tonicizing the diminished ii (V of 2) is unnecessary as it does not create a satisfactory resolution.

  • Valid Secondary Dominances:

    • The valid secondary dominances will adhere to stronger chord resolutions:

    • V7 of IV (dominant of subdominant)

    • V7 of III (dominant of mediant)

    • V7 of V (dominant of dominant)

    • V7 of vi (dominant of relative minor)

Harmonic Exploration

  • Movement in Chords:

    • Discussing the movement from major and minor chords:

    • V7 of IV: Generates excitement through the parallel major influence.

    • V7 of III: Similar to IV, engaging parallel major characteristics.

    • Strong Major Energy: V of vi and V of vii introduce clear major tonalities.

  • **Contrast with Leading Tones:

    • Reference to tonicizing the diminished leading tone and how that feels less resolved.

    • Understanding that when descending from flat seventh (♭VII) to third (III) it appears smooth but retains a distinctly minor flavor.

    • Importance of recognizing the majory feel achieved through using the V of III.

Practical Application and Exercise

  • Suggested exercises include arpeggiating several progressions:

    • Progressions to Practice:

    • Minor tonic to V7 to IV to I

    • V7 to V to I

    • V7 of vi to vi

    • V7 of vii to vii

    • Engagement with various root motions and full triads to reinforce understanding of transitions and tonal resolutions, similar to previous lessons.

Conclusion

  • Encouragement to explore and experiment with the harmonic structure of these concepts to deepen understanding and application of minor mode and secondary dominance in compositions.

  • Emphasis on practicing these triads and their functions provides a foundation for mastering minor modes and their complexities in tonal music.