Minor chord

A minor triad has a minor third (m3) on the bottom, a major third (M3) on top, and a perfect fifth (P5) between the outer notes.
minor triad
Component intervals from root
perfect fifth
minor third
Tuning
just - 10:12:15
Forte no.
3-11

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

Structure

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. It is a tertian chord because it is built in thirds.: 458 A minor triad is represented by the integer notation {0,3,7}.

On lead sheets, a minor chord is sometimes indicated by the letter of its root followed by the abbreviation "MI" in small caps font. Other variations include the abbreviations (in normal font) "min", "mi", "m", or the minus sign character "-". For example, D min, D mi, D m, or D -.

The minor chord timbre is sometimes described as darker than its major counterpart.

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. The ratio was refined to 10/9:4/3:5/3 by Ben Johnston. In a just major scale, the 10:12:15 minor triad appears on iii and vi.

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

Alternate just minor chord tunings include:

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. He pointed out that overtones 10, 12, 15, and 18 of the harmonic series form a minor seventh chord.

See also

References

  1. ↑ Shirlaw, Matthew (1955). The Theory of Harmony. Dekalb, Illinois: Birchard Coar. p. 82.
  2. 1 2 Straus, Joseph Nathan. Introduction to Post-tonal Theory. Prentice Hall, 2000. 49.
  3. ↑ Tapper, Thomas. First Year Harmony. Arthur P. Schmidt, 1908.
  4. 1 2 3 Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music. London: Longmans Green, 1912.
  5. ↑ Benward, Bruce, and Saker, Marilyn. Music in Theory and Practice, Volume 1. McGraw-Hill Education, 2008. 85.
  6. ↑ Kamien, Roger (2008). Music: An Appreciation (6th brief ed.). McGraw-Hill Education. p. 46. ISBN 978-0-07-340134-8.
  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. 1 2 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 In America During The Eighteenth Century. University of Minnesota, 1969. I-25.