4-part Writing: The Minor Mode, Part 1 - Harmony II, 05

Minor Mode: See pp. 43-46 of Dr. Salomon Jadassohn’s Elementary Principles of Harmony for School and Self-Instruction. Breitkopf and Hartel, 1895. A Public Domain work.

________. Manual of Harmony, pp. 47-49. Breitkopf and Hartel, 1890. A Public Domain work.

DESCRIPTION
the minor mode – part 1: natural and harmonic minor, an Artificial Leading Tone, and Cadences
We hope that you have taken the time to actually do the paper and pencil exercises suggested in a previous video. If not, we strongly urge you to go back and do so, because we will be building on that foundation. Upcoming material will not be easier, but harder. A link to download the textbooks is in the description. Now that we understand each other …
We have up to this point dealt exclusively with the Major Mode, pointing out that there are Seven Primary Tones and Five Secondary Tones, for a total of 12 tones in the octave. When played consecutively, they form a chromatic scale.
The Seven Primary Tones of the Major Mode are organized in two identical and connected tetrachords. The four tones of each tetrachord follow the whole-tone, whole-tone, and semitone pattern. The two tetrachords are separated by a whole-tone.
Now, just as there are 12 tones in Major, there are 12 in Minor. Don’t forget, any of the 12 tones can become the tonic of a new key, through the process of transposition. So there are 12 possible minor tonics as well.
The closest relative of any Major Scale is the Minor Mode having the same key signature. We call it the Relative Minor, and its root or tonic is the sixth tone of the Major Scale, the submediant. It is a minor third below the root of the major scale. See the link in the description for more on the Minor Mode. (...)

IMAGES CREDITS in order of appearance –

Relative minor mode: Elementary Principles of Harmony for School and Self-Instruction, p. 43, by Dr. Salomon Jadassohn. Breitkopf and Hartel, 1895. A Public Domain work. [download link above]