G minor
G minor is a minor scale and key in Western music theory, derived from the natural minor scale starting on the note G, with the pitches G, A, B♭, C, D, E♭, F, and G.[1] Its key signature features two flats—B♭ and E♭—and its relative major is B♭ major, sharing the same key signature but emphasizing a different tonic.[1][2] The scale exists in three primary forms: the natural minor, which follows the pattern of whole and half steps (W-H-W-W-H-W-W); the harmonic minor, which raises the seventh degree (F to F♯) to create a stronger leading tone for resolution; and the melodic minor, which raises both the sixth (E♭ to E) and seventh degrees when ascending, reverting to natural form when descending.[3] G minor's tonal center evokes a melancholic or introspective quality in compositions, often employed to convey emotional depth or tension.[4] Notable works in G minor include Wolfgang Amadeus Mozart's Symphony No. 40 (K. 550), one of his most famous symphonies composed in 1788, known for its dramatic intensity and innovative structure; Johann Sebastian Bach's "Little" Fugue in G minor (BWV 578), an organ work from around 1703–1707 featuring intricate contrapuntal lines; and Frédéric Chopin's Ballade No. 1 in G minor (Op. 23), a virtuosic piano piece completed in 1835, celebrated for its narrative lyricism and technical demands.[5][6][7] These examples highlight G minor's versatility across Baroque, Classical, and Romantic eras, influencing chord progressions like i–iv–v–i (Gm–Cm–Dm–Gm) common in both classical and contemporary music.[8]Musical Characteristics
Scale Construction
The natural minor scale in G minor, also known as the Aeolian mode, consists of the ascending pitches G, A, B♭, C, D, E♭, F, and G, spanning one octave from the tonic G to the upper octave G.[9] This construction derives from the parallel G major scale by lowering the third, sixth, and seventh scale degrees by a semitone each.[9] The interval pattern follows whole step–half step–whole step–whole step–half step–whole step–whole step (W–H–W–W–H–W–W), with half steps occurring between the second and third degrees and between the fifth and sixth degrees.[10] The scale divides into two tetrachords separated by a whole step: the lower tetrachord spans G–A–B♭–C (W–H–W), and the upper tetrachord spans D–E♭–F–G (H–W–W).[9] This structure emphasizes the characteristic minor third from the tonic to the third degree, contributing to the scale's distinct tonal profile. The harmonic minor variant modifies the natural form by raising the seventh degree to provide a leading tone, yielding the pitches G, A, B♭, C, D, E♭, F♯, and G.[10] The resulting interval pattern is W–H–W–W–H–(W+H)–H, where the augmented second (whole plus half step) between the sixth and seventh degrees creates tension that resolves strongly to the tonic.[10] In this form, the lower tetrachord remains G–A–B♭–C (W–H–W), while the upper tetrachord becomes D–E♭–F♯–G (H–(W+H)–H). Tuning considerations for G minor differ between equal temperament and just intonation. In equal temperament, the octave divides into twelve equal semitones (each with a frequency ratio of $2^{1/12} \approx 1.05946), ensuring consistent intervals across keys but introducing slight impurities, such as the perfect fifth being tempered to approximately 1.498 instead of the pure 3:2 ratio.[11] Just intonation, by contrast, employs simple integer ratios (e.g., minor third as 6:5, perfect fifth as 3:2) for purer consonance within the scale's home key, though it may cause dissonances when modulating; for G minor, the tonic G might be tuned to 196 Hz in equal temperament as a reference.[11] The G minor scale shares its key signature of two flats (B♭ and E♭) with its relative major, B♭ major.[12]Key Relationships
G minor features a key signature of two flats: B♭ and E♭.[13] This places it on the flat side of the circle of fifths, as the relative minor of B♭ major, which is the second key in the sequence of flat major keys progressing counterclockwise from F major.[14] The relative major of G minor is B♭ major, sharing the same key signature of two flats but starting on the third degree of the G minor scale (B♭).[15] This relationship allows seamless transitions between the keys, as they contain identical pitches.[13] In contrast, the parallel major of G minor is G major, which shares the same tonic pitch (G) but employs a different key signature with one sharp (F♯) instead of the flats in G minor.[15] This distinction arises from raising the third, sixth, and seventh degrees of the G minor scale to form the major mode.[16] The dominant key of G minor is D minor, functioning as the minor-mode key built on the fifth degree and often used for modulation in minor tonalities.[17] Similarly, the subdominant key is C minor, derived from the fourth degree of the G minor scale.[13] G minor has no direct enharmonic equivalent due to its asymmetric structure, though it relates to A♭ major through transposition, such as shifting the entire scale up a half step to A♭ minor, whose parallel major is A♭ major.[14] These connections stem from the natural minor scale degrees: G, A, B♭, C, D, E♭, F.[13]Harmonic Framework
Diatonic Chord Progressions
In the key of G minor, the diatonic triads are constructed on each degree of the natural minor scale (G, A, B♭, C, D, E♭, F), resulting in the following chords: i (G minor: G–B♭–D), ii° (A diminished: A–C–E♭), III (B♭ major: B♭–D–F), iv (C minor: C–E♭–G), v (D minor: D–F–A), VI (E♭ major: E♭–G–B♭), and VII (F major: F–A–C).[18] In the harmonic minor context, which raises the seventh scale degree to F♯ for stronger resolution, the V chord becomes major (D: D–F♯–A), while the other triads remain the same except for potential adjustments in vii° (F♯ diminished: F♯–A–C).[18] Typical diatonic progressions in G minor often draw from these chords to create harmonic motion, frequently incorporating the harmonic minor's V for cadential strength. A standard authentic cadence progression is i–iv–V–i (Gm–Cm–D–Gm), where the major V provides tension resolution back to the tonic.[19] Another common sequence is i–VI–III–VII–i (Gm–E♭–B♭–F–Gm), which cycles through mediant, submediant, and subtonic chords for a plagal-like feel before returning to i.[19] Deceptive cadences frequently substitute VI for i after iv or V, as in iv–VI (Cm–E♭), avoiding direct resolution to the tonic.[20] Voice leading in these minor key progressions emphasizes smooth connections between chords, prioritizing step-wise motion, retention of common tones in the same voice, and avoidance of parallel fifths or octaves.[21] The raised leading tone (F♯) in the harmonic minor's V chord must resolve upward by step to the tonic G in the i chord, often without doubling to maintain part independence. In broader progressions, the subtonic VII (F major) can lead to i via contrary motion in outer voices, with inner parts moving by third or second for minimal disruption.[21]| Scale Degree | Roman Numeral | Chord Name | Notes |
|---|---|---|---|
| 1 | i | G minor | G–B♭–D |
| 2 | ii° | A diminished | A–C–E♭ |
| 3 | III | B♭ major | B♭–D–F |
| 4 | iv | C minor | C–E♭–G |
| 5 | v (natural) / V (harmonic) | D minor / D major | D–F–A / D–F♯–A |
| 6 | VI | E♭ major | E♭–G–B♭ |
| 7 | VII | F major | F–A–C |