TONAL HARMONY – Kostka/Payne

 

CHAPTER 4

 

Diatonic Chords in Major and Minor Keys

 

This chapter begins by attempting to dispel the notion, so often held by students, that a tonal composer chooses from a menu of three scales before beginning a piece in the minor mode.  The fact is, of course, that diatonic minor mode music is more complicated than diatonic music in the major mode because of the variability of 6 and 7.  It is fair to say that in minor most melodic pitches conform to the melodic minor scale and most harmonic pitches belong to the harmonic minor scale.  But, exceptions are so common as to render such a “rule” useless.

 

These complications are encountered when triads and seventh chords in minor are presented.  Instead of following the simpler but misleading system of forcing chords to conform to the harmonic minor scale, we include as norms three chords from outside of that scale:  III, i7, and IIIM7.

 

We will go through great deal of drills, especially involving triads.  Brain twisters like

“F is the 5^th of a vi chord in what major key?” and “F# is the bass note of a V  in what minor key?” will challenge all of us and help to develop essential analytical skills.

 

The Minor Scale

 

Diatonic Triads in Major

 

Diatonic Triads in Minor

 

Diatonic Seventh Chords in Major

 

Diatonic Seventh Chords in Minor

 

CHAPTER FOUR SUMMARY (from the text book – pg.69)

 

 

 

For additional review and practice:   www.mhhe.com/tonalharmony5