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Major and minor
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==Advanced theory== [[File:Minor as upside down major.png|thumb|right|300px|Minor as upside down major]]In the [[Neo-Riemannian theory]], the minor mode is considered the [[Melodic inversion|inverse]] of the major mode, an upside down major scale based on (theoretical) [[Undertone series|undertones]] rather than (actual) [[Overtone|overtones]] ([[harmonic]]s) (See also: [[Utonality]]). The [[Root (chord)|root]] of the minor triad is thus considered the top of the fifth, which, in the United States, is called the fifth. So in C minor, the tonic is actually G and the [[Leading-tone|leading tone]] is A{{music|b}} (a half step), rather than, in major, the root being C and the leading tone B (a half step). Also, since all chords are analyzed as having a [[Tonic (music)|tonic]], [[subdominant]], or [[Dominant (music)|dominant]] [[Function (music)|function]], with, for instance, in C, A minor being considered the tonic parallel (tP) (US relative), the use of minor mode root chord progressions in major such as A{{music|b}}-major–B{{music|b}}-major–C-major is analyzed as sP–dP–T, the minor subdominant parallel (see: [[parallel and counter parallel|parallel chord]]), the minor dominant parallel, and the major tonic.<ref>{{Cite book|last=Gjerdingen|first=Robert|author-link=Robert Gjerdingen|title=Studies on the Origin of Harmonic Tonality|location=Princeton|publisher=Princeton University Press|year=1990|isbn=978-0-691-09135-8|jstor=j.ctt7ztxzh}} English translation of [[Carl Dahlhaus]]'s ''Untersuchungen über die Entstehung der harmonischen Tonalität'' (1968).</ref>
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