A Treatise on

The Minor Four

Chord
By
Jake Dickerson

The Harmonic Series

In order to understand the function of the minor four chord,
one must first understand the concept of the harmonic series. All
harmonic tendencies, diatonic, pentatonic, chromatic and otherwise,
revolve around the phenomena of this series. This sequence is a
chain of overtones that can be found on a vibrating piano string.
The Western chromatic scale came into existence in direct
correlation to the series first 32 overtones transposed into one
octave. The harmonic series, like , is infinite. Not only is this idea a
part of musical theory, but also mathematics. Harmonics are
calculated as such:

1n =1+ 12 + 13 + 14 + 51 + 16 + 17 + 18 , etc.
n=1

The expression simply means that any given string ( ) contains

overtones premeditated by the fractions following it. Hence, the first
tone of the series would be its base (1). The first harmonic would be
1
2

or the direct upper octave, the next is

1
3

the original

wavelength or a perfect fifth, and so on. The importance of this

equation is not only for in the way that it easily establishes the 12tone scales, but also in the way that it establishes intervals, and,
naturally, harmonies. The major triad is made up of the first six
tones of the series. On C this is: C, E, and G.

Diatonicism is born out of the organization of the harmonic

series into the 12-tone scale, and then the 8-tone diatonic scale (The
major scale). From the same organization stems all other scales,
sequences, and modes.

Diatonic Reasoning
Because of the way that the major scale is organized, key
signatures are established. Each tonic, what we could call a
foundational tone, sets the stage for what tones are found within its
scales; all of these follow a pattern based on semitones (equal to a
single key on a piano): 2, 2, 1, 2, 2, 2, and 1. As stated before, the
tones of a C major triad are C, E, & G. If we move this triad up by
one note diatonically we establish the diatonic triads of C: C major,
D minor, E minor, F major, G major, A minor, and B diminished.
If we analyze these triads we find that the key, or any key,
contains only 3 major triads that are diatonic (within the key
signature): I (C major), IV (F major), and V (G Major). Consequently,
these are the most often used chords. It is the nature of these
chords to work together in obvious unity for a few different reasons.
Reason one is because they are all major chords. Our ear for
harmony generally favors the sound of a major chord over all other
triads; they are the most natural sounding chords. Looking deeper
into the function of these chords we find that I can be followed by IV
very easily. This is because they share a common tone: the tonic, or
in our circumstance C. Furthermore the movement from one chord
to the next contains subtle chromatic movement. When the third of
C, E, moves to an F, diatonic chromatic movement occurs.
The same movement occurs when we resolve a V chord to a I
chord (an authentic cadence). The third of the G chord, B, moves
chromatically to C. An excerpt from Mozarts Sonata No. 16 in C
major, K.545 gives a perfect example of this movement:

The Function of the minor four with

Chromatic Movement
The antecedent chromatic movement establishes the
foundation for understanding the minor IV chord and its function.
Firstly, substituting iv for the IV when moving from I works as good
as the IV. This is because of two voices moving chromatically. Here,
the E from are I chord goes to F, and the G from our I chord goes to
G or A. This movement is great when expressing reminiscence or
nostalgia in music. Furthermore, the non-scale tone (A) adds color
to music as a blue note.
If we work more with chromatic movement we can further
expand on this chords emotional function. This of course if also
relative to tempo, melody, and rhythmic feel of the piece. If we move
the bass voice found in I, C, down by semitones we can create a
great harmonic foundation for an emotional, and nostalgic melody.
Personally, I would favor moving from C to Em/B, C7/B, A7, and
then Fm/A.
If we choose to move diatonically, we may give the piece a more
obvious harmonic feel. For example, C to, Em/B, Am7, G, F, and then
Fm. This is also a good harmonic base for a nostalgic melody.
However, in this case, based on preference of the writer, it may be
wise to use Fm6 (Ddim7). This would give much more tension than
the later because it contains the tri-tone interval.
The last example of the iv function is ascending from IV. In this
case one might write: F, to G, Fm6, and then Am. This is interesting

for the middle of a melodic phrase. One could go directly from iv6 to
I, but moving back down going F, G, and then C may be more
interesting.
Certainly there are many more functions of this chord, the
three presented are my personal favorites. The slight tension in the
minor iv can be used to great very expressing emotional depth in a
piece, and also provide color to existing musical ideas one may have.