Minor Key Tone Tendencies

Last time, we looked at how tense and unstable tones in a melody can be used for powerful expressive effects.

We discussed how different tones in a major key have tendencies that can create this tension. And we considered an exercise for using tone tendencies to write new melodies.

In this post, we’ll be focusing on tone tendencies in minor keys. We’ll examine each of the minor scale tones and then consider a few different musical examples that show these tendencies at work.

The tendencies of minor scale tones

The natural minor scale is made up of seven distinct tones (numbered 1-b7). Here they are on one octave of the A natural minor scale:

As we discussed last time, each tone in a scale has different tendencies relative to the 1 (or “root tone”). You can think of a tendency as a pull toward some other tone in the scale.

The most tense and unstable tone in natural minor is the b6, which can seem to pull down to the 5. Here’s an example:

Pay attention to the tension created when the b6 is played. We say this tension is resolved when we step down to the stable 5.

The 1, b3, and 5 are all stable tones in natural minor. They also make up the home chord in minor keys. If we’re in the key of A minor, for example, the home chord would be the Am chord.

Stable tones sound more at rest, and they are resolution targets for the unstable tones. The unstable tones in minor are 2, 4, b6, and b7. They are often called tendency tones.

Here are the primary resolution targets for the minor key tendency tones:

Moving from a tendency tone to any home chord tone can sound like a resolution. But the primary target sounds more direct.

The tendencies of each tone in the minor scale

Let’s consider the tendencies of each of the tones in the natural minor scale. We’ll go in rough order from most stable to least stable. The most stable tone is the root (the 1), and we’ll use it as a point of reference for the rest.

The 5

Whether we’re in a minor key, a major key, or a common mode, the 5 is the second most stable tone (after the root). Playing the 1 and 5 close together reinforces our sense that the 1 is the central note of our key.

Let’s hear the 5 in context:

Notice how the 5 has a stable, neutral sound. We don’t feel a strong need to go anywhere. The return to the 1 is natural but doesn’t seem to resolve any tension.

The b3

The b3 is also a stable tone in a minor key. Unlike the 5, it establishes the quality of the key as minor.

Again, notice that hanging on the b3 doesn’t create a pull anywhere. However, it is noticeably more colorful than the 5.

Contrast the color of the minor 3rd (b3) with the color of the major 3rd (3). A major 3rd would indicate we’re in a major quality scale:

The 4

The 4 is the first unstable tone we’ll consider in this section.

Here we’ll start by quickly playing the b3, which will help ground your ear in the minor scale:

Listen to the tension created when we hang on the 4. And then pay attention to how it resolves when we move down to the b3.

For comparison, here is the 4 resolving to the 5:

It’s worth noting that the 4 is more tense in major keys than minor keys.

The b7

In a major key, the 7 is called the “leading tone” and it very strongly pulls up toward the root. But in a minor key, the seventh tone is a b7, which means it’s one half-step further away from the root than a 7.

This means that the b7 lacks that strong leading tone quality. It creates a subtler tension, as demonstrated here:

And here it is resolving to a secondary target, the 5:

It is possible for the 7 to show up in a minor song as well. We often say it comes from the harmonic minor scale (which is like the natural minor scale but with 7 instead of b7).

Listen to the stronger tension and resolution the 7 creates:

The 2

The two most unstable tones in natural minor are the 2 and the b6. They are also the two tendency tones that are part of a half step.

Notice that the 2 is directly next to the b3. And the b6 is directly next to the 5. There is no key in between:

The 2 is a tone in motion. And in the context of a minor key, it tends to move up a half step to the b3.

Pay attention to the tension the 2 creates. How does the resolution feel as it moves up to the b3?

The 2 can also resolve down to the 1. Here is that resolution for contrast:

The b6

As we’ve already seen, the b6 is the most unstable tone in natural minor, pulling us down a half step to the 5.

Hanging on the b6 is clearly tense and the move to the 5 resolves that tension. But you can also resolve up to the root above:

This resolution requires more energy than the move down to the 5.

Once again, these tendencies are not rules

As we discussed in the major key tone tendencies post, these tendencies are not rules for songwriting.

Just because the b6 pulls to the 5 doesn’t mean you need to resolve it this way in your songs. But there’s a good chance the b6 will create tension in your minor key melodies, and you can use this for expressive purposes.

Musical examples

Let’s look at a few examples of how tendency tones can be used in different contexts. This will help you get a better feel for how tension works in minor key melodies.

As you listen to the clips for these examples, try to identify the points that have the greatest tension or expressive effect for you. The unstable tones I’ll focus on are all emphasized in one way or another in the melody.

As a reminder, the stable tones in minor keys are 1, b3, and 5. And the tendency tones (in order of rising tension) are 4, b7, 2, and b6.

Example 1: Verse from “Sweet Dreams (Are Made of This)”

Our first example is the song “Sweet Dreams (Are Made of This)” by The Eurythmics. We’ll be focusing on the first part of the verse.

Lennox begins the melody by repeating the b3 with a quick diversion to the 1. This clearly establishes that we’re in a minor key. She then ends the first line on the unstable 2 (at “thi-is”). The tension created by the 2 propels us forward to the next line.

That next line moves back and forth again between b3 and 1, but then moves up to an unstable 4 in the middle of “disagree” before walking back down to the 2. This combination of emphasized unstable tones (4 and then 2) creates even greater momentum forward.

Example 2: Chorus from “Between the Bars”

Our second example is the first half of the chorus from “Between the Bars” by Elliot Smith. This chorus leads in with the b6, which as we’ve seen is the most unstable (and potentially expressive) tone in natural minor keys.

It’s worth listening to the clip twice, since you’ll be more grounded in the key the second time. This will bring out the tension in the b6 even more. Of course, if you listen to the entire song, the verse does this job before we get to the chorus!

Smith resolves the tense opening b6 to its primary target (the 5). He then walks down to the 1, singing every tone in between but stressing the home chord tones (5, b3, and 1).

He then jumps back to the b6 (“don’t”) and does follows roughly the same path again, but with more diversion to the 4.

This half of the chorus ends on the 1 (“that push”), but the harmony of the chords undermines the stability of that resolution, driving us toward the second half (not heard in this clip).

Example 3: Verse from “Concrete Jungle”

Our last example is the first part of the verse from “Concrete Jungle” by Bob Marley and the Wailers.

Marley starts the verse by outlining the minor home chord (1, b3, and 5) before dwelling on the more unstable 4 (“shine in my”) and then resolving up to the 5 (“to-day”). The backup vocals (in blue) follow by stressing the root tone.

On the next lead vocal phrase (“The high”), Marley starts down on the b7, which reinforces the 1 as our center of gravity. He sings the outline of the home chord again and then hangs for a moment on the unstable 4 (“moon”) before jumping up to the 1.

This whole half of the verse ends by rising up further to the even more unstable 2 (“play”). The tension created drives us clearly forward to the next part of the verse.

An exercise for minor key tendency tones

Hopefully these examples gave you a sense of how many different ways you can use tendency tones to create tension and musical interest.

Near the end of the last post, we looked at an exercise for intentionally using major key tendency tones to write your own melodies. We can re-use that exercise for the minor key tendency tones, with some minor modifications.

Here are the changes you’ll need to make to it:

• Pick a minor key instead of a major one.
• For stable tones, use 1, b3, and 5. For tendency tones, use 2, 4, b6, and b7.

Otherwise, you can keep the exercise the same!

You might find that the tendency tones in a major key are more distinctively tense than in a minor key. A possible explanation is that the core of a major key is generally more stable than the core of a minor key. So the unstable tones stand in sharper contrast in major keys.

Try the comparison for yourself and see what you think.

Next steps

As I mentioned last time, the tendency tones exercise is an artificial way to explore tension in melodies. Use it to learn more about these dynamics and explore new ideas.

As you get a better grasp of these dynamics, you can shift your focus to the feelings of tension and emotional expression you can create in your melodies, without worrying about the exact tones you’re playing or singing.

As always, what matters is how it sounds!