When did the concept of major minor appear? How to distinguish minor from major

The theory of harmony knows the most important phenomenon of music, the brilliant period of whose dominance has already ended, and a comprehensive scientific and theoretical justification with which all scientists would agree still does not exist. This phenomenon is major and minor.

The quality that characterizes the opposite direction specific to the relationship between major and minor is usually denoted as mood. Major as “hard” (dur), “more” (maggiore), minor as “soft” (moll), “lesser” (minore) in their contrasting combination serve a powerful tool musical expressiveness, a means of a wide and varied range of action. Major and minor are the basis of two tonal modes common during the peak period of European music beginning in the 18th century. (Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin, Liszt, Wagner, Glinka, Balakirev, Borodin, Mussorgsky, Tchaikovsky, Rimsky-Korsakov, Rachmaninov, Glazunov, Scriabin), modes that largely retain their significance and for 20th century music (Stravinsky, Messiaen, especially Prokofiev, Myaskovsky, Shostakovich, Shchedrin, etc.). Majority and minority can also play a significant role in the expression of other modes, outside the major-minor system. For example, Dorian and Phrygian and some others are modes of a minor basis, Mixolydian, Lydian are of a major basis (discovery of Zarlino).

For all these oppositions, the basic type of opposition is the same: major and minor, dur and minor, “hard” and “soft.”

The opposites themselves - “hard” and “soft” - have a history much older than major and minor as modes or even as chords. Also in ancient Greece there was a contrast between “hard” (or “syntonic”, that is, with a “sharp” tension of the middle strings in a tetrachord) and “soft” (with a “weak” tension) chromia (in Claudius Ptolemy). And Boethius considered diaton to be a “hard and natural” species (durius et naturalis), and chromium to be a “softened” species (mollius). Following this and whole tone(characteristic of the diatone) was contrasted by medieval theorists with the semitone (characteristic of the chromium), as the interval “hard”, “perfect”, simple - “soft”, “imperfect”, complicated. Later (in the 16th century) this opposition was transferred to thirds - major (tertia dura) and minor (tertia mollis; by J. Cocleus).

The first “hard” and “soft” scales were historically not our major and minor scales, but medieval solmization hexachords with the structure:

(Their syllables originate from the initial syllables of the lines of the hymn “Ut queant laxis”, adapted by Guido Aretinsky for the practical development of tones and semitones of the scale.)

In the hexachord system there are three provisions hexachord depending on whether it falls into soft b(that is B-flat), or hard(“square”) (that is si-bekar), or neither one nor the other hits. Accordingly, the three hexachords were called “soft” (molle), “hard” (durum) or “natural” (naturale) (example 135).

(Even N.P. Diletsky in 1679-1681 called music in the corresponding scales “dural” - without signs and “flat” - with flats.)

In the 17th century, the concepts dur and moll began to denote the modal inclination depending on the third, major and minor (in Kepler’s genus durum = g-e-d-c-H-G, a genus molle = g-es-d-c-B-G; at the end of the 17th century, A. Werkmeister found designations in the modern sense - a-moll, e-moll).

The modern formulation of the question of major and minor includes primarily three main problems:

1) the essence of major and minor triads;

2) the essence of the classical major and minor modes (tonal-functional system);

3) major and minor inclinations of the mode in the music of the 20th century.

The third problem is not related to the content of this work. The second is dealt with mainly in the chapter on tonal functions. Here we will talk about the first problem, which, naturally, is connected with the other two.

The first scientific theory of the essence of major and minor, the connection and opposition of the two moods was proposed by the famous Italian music theorist Josephfo Zarlino in the book “Fundamentals

harmony" (or "The Doctrine of Harmony", lit. "Harmonic Instructions"; Venice, 1558). In Chapter 31 of Part 3, he gives an extremely concisely presented, but completely complete expressed idea interpretation of major and minor as aesthetic opposites based on the ancient (even Pythagorean) aesthetic theory proportions (according to edition: Zarlino G. Le Institutioni Harmoniche. Venetia, 1573. P. 211). Main three types "average"(arithmetic, harmonic and geometric) or three types of “division” (the same) Zarlino sets out in the first part (Chapter 35 and following). Let us explain the three types of “averages” with a diagram (cf.: Zarlino G. Le Institutioni Harmoniche. Venetia, 1573. P. 54; “super-third” proportion - a ratio when the larger number exceeds the smaller one by one third):

Table 13

Arithmetic the average is obtained with three numbers, where the difference between the first and second is equal to the difference between the second and third. For example: 4, 3, 2 or 3, 2, 1, or 6, 4, 2, or 7, 4, 1, etc.

Geometric the average is obtained with three numbers, where the ratio of the first and second is equal to the ratio of the second and third. For example: 4, 2, 1 or 9, 3, 1, or 16, 4, 1, etc.

Harmonic the average is obtained with three numbers, where the ratio of the differences of the first and second, second and third is equal to the ratio of the first and third. For example:

Other examples: 6, 3, 2 or 15, 12, 10, or 20, 15, 12, or 28, 7, 4.

Harmonic mean - inversion of arithmetic mean:

Arithmetic = 1, 2/1, 3/1, 4/1, 5/1, 6/1;

Harmonic = 1, l/2, 1/3, 1/4, 1/5, 1/6;

(for clarification: 1, 1/2, 1/3 = 6, 3, 2).

Zarlino associates “all the diversity and perfection of harmony” with the action of two intervals - fifths and thirds or their “replicates” (that is, intervals derived from them, for example sixths). The sounds of the fifth are unchanged, but the third (that is, the major third) can take its position inside the fifth, being placed either below,

either at the top, thereby dividing number of fifths (3:2) in various ways. Since one of the sounds of the third coincides with either the lower or the upper, another one is added to the fifth one sound corresponding to the “average” value. Hence the justification of major and minor by the theory of “averages”. Zarlino writes that the major third (“la Terza maggiore”), placed in the lower part of the fifth, makes the harmony “cheerful” (allegra), and placed in the upper part - “sad” (mesta). Keeping in mind that Zarlino's way of noting times in string lengths rather than in vibration numbers, we get harmonic proportion as an explanation of the major (major triad) and arithmetic- to explain the minor (if we express the same thing in a way typical of our time - in numbers of vibrations, then the data will be reversed: harmonic proportion- for minor, arithmetic proportion - for major). Thus, the sounds of fifths are extreme members:

The third is placed in the middle in two ways:

At the end of chapter 31, Zarlino makes a remarkable statement: arithmetical proportionality is a little removed from the perfection of harmony, since its parts are not in their natural position; on the contrary, the harmonic consonates completely. In these words, Zarlino anticipates an orientation toward the “natural,” that is, the natural order of sounds (a natural scale that he did not know). According to Tsarlino, major and minor are equal and logical (since they materialize in sounds the two most important aesthetic laws of proportions, which in principle equal rights), and at the same time the major is close to nature, and the minor is more distant from it. Hence the difference in expression, the nature of expressiveness.

Zarlino also noted that these two moods - major and minor - underlie all modes (although Zarlino’s theoretical taxonomy of modes is still completely alien to the idea of ​​a two-mode system), and divided all modes accordingly into two groups:

1) with a major third and a major sixth (above the finalis WITH, F, G);

2) with minor third and minor sixth (D, E, A).

The interpretation of Nikolai Diletsky (1679, 1681) is not a deep scientific theory, but it is very colorful in its formulation and original in its rationale for the relationship between major and minor triads. Formally considering music “triple in meaning” (threefold, that is, three frets) - “cheerful, pitiful and mixed”, Diletsky is in fact based on the idea of ​​only two opposite modes, which he understands depending on the underlying triads - ut-mi-sol And re-fa-la. The dependence is interpreted unambiguously, which indicates full awareness of the two-fret nature of the modern Diletsky si-

stems: “if the tone is given to singing ut, mi, salt, there will be a merry music if the tone re, fa, la- will be pitiful." Diletsky receives the rationale for both triads from Guidon’s hexachord (the very names of the “six signs of Musik” speak about this - ut, re, mi, fa, sol, la), which coincides with the two main consents- “dark” and “light”. The hexachord is divided “in two”:

If Tsarlino divided the fifth in different ways, then Diletsky divides the six sounds of the hexachord, thereby representing a unique “modal” approach.

The German theorist Moritz Hauptmann, in his book “The Nature of Harmonics and Metrics” (1853), to explain the major and minor triads, leans towards the so-called "dualistic" interpretation according to which major and minor mirror opposite to each other. Hauptmann assumes that there are only three directly understandable intervals - the octave, the fifth and the (major) third. Merging into a monolithic unity, they provide only two chords - major and minor triads. The sounds from which these intervals are built and which thereby unite the intervals into a monolithic chord are located differently in both chords: in major it is the lower sound of the fifth, from which the intervals are directed up (C-G, C-e), in minor it is the top sound of the fifth, from which the intervals are directed downwards. Therefore, the sound that combines the major consonance (Klang) has have their own fifth and third, and the sound that unites minor consonance, available(have) fifths and thirds. Hence the logical opposition between the states: the real (active) “to have” (das Haben) and the passive (passive) “to be” (das Sein). As a result, the major triad is tending (upward) force, and minor - descending (down) heaviness.

Hugo Riemann (together with other German theorists - A. Oettingen, G. Helmholtz, Z. Karg-Ehlert) further developed the theory of dualism of major and minor, according to which minor is understood as mirror reflection(inversion) major. Riemann tried to find a natural, objective justification for major and minor. For a major (major triad) this is, naturally, a natural scale. For the minor, such a natural justification is obviously not found. Riemann turned to theory undertons, a series of which is mirror-symmetrical to the series of overtones, differing from it only in the direction of the sequence of the same intervals (numbers), example 136.

Some confirmation of the Untertonian theory can be found. Because natural series(which is the overtone series and which Riemann also wants to represent the undertones) is realized in the phenomena of resonance, then in the spirit of Hauptmann’s theory the initial tone of the overtone series It has all others, and the initial tone of the undertone available for all others (example 137).

However, such confirmation cannot refute the main objection to the theory of untertons as natural phenomena: the overtone series is really given by the nature of the sounding body, since overtones are produced by dividing the sounding body into parts. Undertones, in order to be equal natural phenomena with overtones, should be obtained multiplication(?!) mass of the sounding body, which is absurd (multiplication means that to extract the sound of the lower octave, for example, on a string, the length of the string must be doubled during vibration, which is physically impossible).

Despite the existence of a number of other theories of major and minor (among which we should mention the theories of A. S. Ogolevets and P. N. Meshchaninov, see p. 255), it is difficult to name one that could be considered answering all questions. Probably Zarlino's theory (including the problem of major and minor in general theory aesthetic proportions) and Hauptmann's theory ( the best way substantiating the semantic content of the concepts of major and minor) in their complementarity provide the most reliable basis for a correct understanding of this most important phenomenon music.

Major And minor are the two main modes of music. Harmony is a relationship, a combination between each other musical sounds, which are united by a root tone or chord. Let's return to major and minor. These two modes are the absolute opposite of each other. Thus, music written in a minor mode sounds sad, melancholy, and mournful. A major music It is distinguished by its joyful character, light sound, and bright musical colors.

What is the difference between major and minor?

If you remember how a triad (a chord of three sounds) is built, you will easily understand the difference between a minor and a major. A minor triad is constructed as follows: major third + minor third. If you take this chord on an instrument, let's say you build a chord from the note "C". It turns out that the chord will look like this: “Do / Mi / Sol”. By pressing these three keys, we will hear a major triad. The chord will be light, joyful and bright.

A minor triad consists of the following intervals: minor third + major third. On the keyboard of the instrument, press the notes “C / E flat / G”. This chord sounds sad, dreary, dark.

What is the musical mode for?

The musical mode serves to express the character of the music. If the composer wants to show feelings, anxiety, sadness, cry, he uses the minor scale. Joyful, bright, playful moods are conveyed in a major mode. A change in the nature of the music is always accompanied by a change in mode. Large works consisting of several movements contain both major and minor parts.

While enjoying the sounds of music, we experience various emotions, sad or joyful. It is not surprising that a cheerful or, on the contrary, gloomy melody can influence our mood. The most common musical modes, major and minor, play a big role in this. How are they different from each other? Let's try to figure it out.

Definition

Major(from Latin major– “larger”) - a musical mode whose chord is built on a major third; characterized by a predominantly cheerful, joyful tone of sound.

Minor(from Latin minor– “minor”) - a musical mode whose chord is built on a minor third; usually sounds sad and dejected.

Comparison

The aesthetic contrast between minor and major is one of the most important in music. Minor is the opposite of major. According to European musical tradition, sounds are separated using tones and semitones. Due to the physical characteristics of sounds and the physiological structure of the human ear, even something as small as a semitone, due to which a major third differs from a minor third, creates a huge contrast in the perception of sound. In most cases, major chords are perceived by listeners as happy, while minor chords are perceived as sad. Do you remember what Mendelssohn’s “Wedding March” in major key sounds like? Do you think that all marches are usually upbeat and energetic? This is not always the case: for example, Chopin’s “Funeral March” is written in a minor key, and therefore creates a tragic, mournful feeling when listening. Major has a pronounced “positive” connotation, and minor has a pronounced “negative” connotation, which are usually defined by a person as “joy” and “sadness.” Moreover, surprisingly, the emotional coloring of chords practically does not depend on changes in timbre or volume of their constituent sounds. In addition, it also happens that the major turns out to be able to express tragic, lyrical feelings, and the minor – bright, joyful (for example, many American blues are written in major, and the Russian rollicking “Gypsy” is in minor).

Also (by analogy) in Russian, a major is a cheerful, cheerful, elevated state of mind, and a minor is a dull, sad, mournful, depressed state.

Conclusions website

1. In music, a major chord is built on a major third, and a minor chord on a minor third.
2. Both in minor and in major scales the order of intervals (tones and semitones) differs.
3. It is believed that major has a so-called light sound, and minor has a dark, gloomy sound. This sound contrast is best perceived by ear.
4. Major calls positive emotions, that is, joy, minor – negative, such as sadness, despondency, grief.
5. Major also refers to a cheerful, cheerful, upbeat mood, while minor is often referred to as a depressed, sad, despondent state.

Let's take a closer look at the piano keyboard. It has white and black keys. The distance between adjacent keys is called a semitone. Two semitones make up a tone.

For example, between the keys “C” and “C sharp” there is a semitone, between the keys “C sharp” and “D” there is also a semitone. And between the “do” and “re” keys there is a tone. There is a semitone between the “E” and “F” keys, because they are the closest keys, there is no black key between them.

Major and minor

A certain structure of semitones and tones makes up a musical mode. There are many modes in music. The most common of them are major and minor. You've probably heard these names.

Major mode is built according to the following system:

Tone-tone-semitone-tone-tone-tone-semitone

For example, we need to build a major scale from sound C. This is what we get:

We built "C major". If you build a major scale using the same scheme from the sound “D”, you get “D major”. And by analogy, you can build a major scale from any sound.

Minor scale is built according to a different scheme:

Tone-semitone-tone-tone-semitone-tone-tone

For example, let's build a minor scale from the sound A, as you probably already guessed, A minor. Here's what it looks like:

Using the same principle, you can build minor scales from any other sounds.

It turns out that tonality is the pitch position of a major or minor scale. That is, building a scale from a specific sound (tonic). The sounds of a scale are called scale degrees. They are designated by Roman numerals.

One of the functions of the fret is the ratio of stable and unstable steps. I, III and V are stable stages. II, IV, VI, VII – unstable. Unstable sounds gravitate towards stable ones. Usually musical composition begins and ends in steady steps. Stage I (tonic) has special meaning, it is the most important and most stable.

The tonic triad consists of stable degrees (I, III and IV). In C major these will be sounds (do-mi-sol). This is the basis of the mode, the most stable chord to which all other chords of the mode gravitate. In addition to the tonic, the main triads include the triad of the fourth degree (or subdominant), the triad of the fourth degree (dominant). Dominant (denoted Latin letter D) unstable, always tends towards tonic (denoted by the letter T). Subdominant (denoted by the letter S) – expresses mild instability, gravitates towards the tonic much less actively than the dominant.

The main triads (T, S, D) form the basis of mode tonality. When they say about a song that it is built on three chords, they usually mean these chords.

In addition to the main triads, there are also side triads. These include II, III, VI, VII stages. They do not have special names, except for the VII step, they are called by the number of the step, for example, the triad of the 2nd step. The triad of the 7th degree is called the diminished triad.

Exercise

To consolidate the material, I suggest completing this task.

Construct the following scales yourself according to the scheme for constructing major and minor: F major, G major, B minor, D minor. The task must be completed in writing in pencil on a sheet of music.

If anything is unclear, write your questions in the comments.

Minor (from Latin word minor - “smaller”) is a musical mode whose chord is based on a minor third. As a rule, the minor key sounds sad, mournful, despondent.

Major (from the Latin word major - “larger”) is a musical mode whose chord is based on a major third. Major is characterized, as a rule, by a joyful, cheerful coloration of sound.

What is the difference between minor and major

The contrast between major and minor is one of the most important in music. Major is the opposite of minor. According to European tradition sounds are separated using tones and semitones. Due to the physical characteristics of sounds, as well as the physiological structure of the human ear, even a halftone creates a significant contrast in the perception of sound.

Most often, listeners perceive major chords as happy, and minor chords as sad. For example, remember how the famous major work sounds - Mendelssohn's “Wedding March”. However, not all marches are usually energetic and cheerful. For example, Chopin’s “” was created in a minor key, so when listening, a mournful, tragic feeling appears.

Minor has a pronounced “negative” connotation, and major has a “positive” connotation. This feature of the sound of music is usually characterized by a person as “sadness” or “joy”. Moreover, what is especially interesting is that the emotional coloring of chords does not depend in any way on changes in the volume or timbre of their constituent sounds.

Nevertheless, it also happens that a major can express lyrical, tragic feelings, and a minor can express joyful and bright ones. For example, many American blues are created in a major key, but the Russian incendiary “Gypsy” is, oddly enough, in a minor key.

By analogy, in the language a minor is called a sad, dull, depressed, mournful mood, and a major is an upbeat, cheerful, cheerful state of mind.

Difference between minor and major

Thus, the difference between minor and major is as follows:
- in music minor chord is built on the minor third, and the major one is built on the major;
- both in major and minor scales the order of intervals (both tones and semitones) is different;
- usually minor has a gloomy and dark sound, and major has a light coloration of sound;
- minor causes negative emotions, such as grief, despondency, sadness, and major - positive (joy);
- also, a minor is often used to describe a dull, sad, depressed state, and a major is an upbeat, cheerful, cheerful mood.