![]() (Greensleeves is sometimes played that way first verse ends with v-i and last verse with V-i or even V-I.) Sometimes a piece in minor will end a phrase with a v-i progression then use a V-i progression in the analogous place at the end of the piece. One other point is the major dominant (in the minor mode) is only "needed" when a strong sense of tonic is needed. The melodic line may go through steps, 4,5,b6, and 7 thus outlining a V9 chord. ![]() Unless writing for voice, this works OK too. Such a melody may cadence on step 5 with harmony based on the tonic or dominant in this case, the minor dominant chord is possible either leading to a X-v-i chord sequence or X-v sequence (X is something else).Īnother possibility (common in classic styles) is to use the "harmonic" version of the minor scale (lowered 6 and raised 7) in the melody. If the melody descends through lowered scale steps 6 and 7, it rarely leads to a perfect authentic cadence on step 1 (or equivalently 8). (One reason that a ii065-i64-V7-i sounds so good.) If descending to step 1, a melody generally goes through step 2 (from 3) so the raised 7 will go well with step 2. ![]() If the melody is descending, the question of mutated sixth or seventh steps generally doesn't arise. A bit more information would be needed in this case.
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