ital. minore, from lat. minor – smaller; also moll, from lat. mollis – soft
Mode, which is based on a small (minor) triad, as well as the modal coloring (inclination) of this triad. The structure of the minor scale (a-moll, or A minor):
Main soundtrack. (melodic row pattern)
Main chords. Harmonic model of harmonic minor
M. (as a triad that does not completely coincide with the lower tones of the natural scale, and as a mode built on the basis of this triad) has a dark coloration of sound, opposite to major, which is one of the most important aesthetic. contrasts in music. M. (actually “minority”) can be understood in a broad sense – not as a mode of definition. structure, but as a modal color, due to the presence of a sound located a minor third up from the main. fret tones. From this point of view, the quality of minority is characteristic of a large group of modes: natural Aeolian, Phrygian, Dorian, some pentatonic (acdeg), etc.
In Nar. music related to M. natural modes of minor coloring existed, apparently, already in the distant past. Minority has long been characteristic also means. parts of melodies prof. secular (particularly dance) music. However, only in Ser. 16th century M.’s prototypes – the Aeolian mode, together with its plagal variety – were legalized in Europe. music theory (in the treatise Glarean “Dodekachordon”, 1547) as IX and X church. tones. The 16th century is the time when the old modes were replaced by major and M. (in all genres from everyday dance music to high polyphony). The era of functional major and M. covers in Europe. music of the 17th-19th centuries. The process of liberation from intonation. the formulas of the old modes were more difficult for M. than for major. And even in the classic-romantic. period (from the middle of the 18th to the end of the 19th centuries), when M., following the model of major, acquired his classical. view (reliance on three main chords – T, D and S), in the structure of the mode, the duality of certain steps was firmly entrenched (high VII when moving up, low VII when moving down) – the remnant of the former richness of the Renaissance modality. To con. 19th century M. (like major) is partly reorganized due to the inclusion of non-diatonic in the mode. elements and functional decentralization. In modern music M. exists as one of the many. sound systems. See inclination.
Yu. N. Kholopov