How minor really works part II content to already understand

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Content to already understand:

  • Basic understanding of how triads function. (Roman Numeral Analysis)

  • Solid Skills in Constructing Major Scales and chords

  • Solid Skills and understanding in constructing minor scales and triads

  • Basics introduction to modulation.

This video is Part II of “How Minor Really Works”. In this video I will show you how the chords within minor tend to function and we will build up seventh chords with our nine-tone or super-minor scale.

If you recall from Part I, most of the minor triads have two versions based on the function of the chord. The best example of this is the V chord.

The minor v chord uses lowered 7th scale degree. I would guess that traditional harmony the V chord is Major (or Dominant) about 90% of the time. The minor v chord is used often in passing and provides a beautiful color.

I am going to show you some of the typical functions of many of these chord types. Some will use language of modulation that you can ignore for now if you are unfamiliar with the concepts. Please revisit this when you are studying modulation and chromaticism.
ii: Can be diminished or minor, it doesn’t really effect function.

III: Relative major, III+ extension of I as color or prelude to dominant with raised 7th.

IV: Major or Minor, Functions as predominant either way but can be useful in modulation
V vs v: Major or minor
bVI vs vi0: bVI is a major chord and quite strong. Can evolve into a dominant chord and become an augmented sixth chord resolving down to Dominant. It is also the V/N. vi0=diminished chord with lots of cool possibilities. Mostly vii0/bVII
vii0: Standard vii0 chord and extension of dominant.
Keep in mind that none of these chords are considered chromatic or outside of the key. They all exist normally as extensions of super-minor (lowered 6/7, major 6/7)
Spell Seventh Chords:

Notice here that sometimes, the chords still function the same as seventh chords as they do as triads. The sevenths add color and tension to the chords to increase the pull to the tonic and sound beautiful to boot. Other times, the chord will change function completely with the seventh on top.

i: C-7 / C- (+7)

ii: D-7 / D-7 (b5) ie Dø7
iii: Eb Maj7 / Eb+7
iv: F-7 / F7 (V/bVII)
V: G-7/ G7
vi: Ab Maj 7, A-7 (b5) (Aø7)
bVII: BbMaj7 AND Bb7
vii0: B07 and Bø7
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