The Harmony of the minor scale

• the harmony is built off of the harmonic minor scale
  • this is for the leading tone which is needed for cadences
    • will also create the interval of an A2 between scale positions 6+7
  • melodic minor scale = not used in harmony
    • only created in melodic situations to avoid the A2
  • constructing chords from the minor scale will create 4 consonant chords
    • 2 major – V and VI
    • 2 minor – i and iv

• the remaining chords will be dissonant
  • • 2 dimished
    • 1 augmented
  • Tchaikovsky says that there is less euphonious material to work with in minor than major
  • we must address how to treat the dissonant chords as they need to resolve well
    • in major [with the dim. chord] this was done with sequences
      • this cannot be so in minor

1. the diminished triad on the seventh degree
   • it has relations to chords built on 2,4,5
     • however, it can only be properly connected with the triad built on 5
       • this is because, if it were to be connected to one of the other triads, an A2 would rise out of the voice leading; this is a no go
       • both common tones should stay in the same voice when leading from 5→7 or 7→5
2. the diminished triad on the second degree
   • it has relations to chords built on 2,4,6
     • only two things need to be avoided
       1. concealed octaves and fifths
       2. A2 in voice leading
          • the A2 can easily be avoided when connecting 2→5 or 5→2 in contrary motion
3. the augmented triad on the third degree
   • it has relations to chords built on 1,5,6
     • this chord is rarely used diatonically
     • it finds many uses chromatically [or as an altered chord]

• sometimes in using the leading tone in minor the chord that receives the resolution with have a doubled 3rd [this breaking the rule of doubling the root]
• figures bass is addressed here as it begins to become complicated
  • 8 = position of the octave = first inversion
  • 3 = position of the third = second inversion
  • 5 = position of the fifth = root position
  • if there is no figure bass marking then it is a triad in root position
    • however, smooth voice leading takes president over this
  • accidents which stand alone are applied to the third of a chord, regardless of inversion
    • if the accidental has a number to the right of it, then it applied to that pitch in the chord [here, it is the fifth to make an augmented triad]