Duurmolliharmonian

Duurmolliharmonian is a theoretical concept in contemporary music theory that describes harmonic progressions which blend characteristics of major (duur) and minor (molli) tonalities. The term originates from the Finnish words *duur* meaning major, *molli* meaning minor, and the suffix *harmonian* denoting something related to harmony. It is used primarily by scholars who analyze the harmonic language of 20th‑century and contemporary composers, particularly those who blur the boundaries between tonal centers.

In practical terms, a duurmolliharmonian progression may involve a sequence of chords that move from a major key centre toward parallel minor, or vice versa, while maintaining voice leading that is common to both modes. This results in an ambivalent sonic colour that neither fully resolves to a major nor a minor final. The concept helps explain works by composers such as Béla Bartók, Claude Debussy, and later, Alban Berg, where parallel major/minor movement creates a distinctive sense of ambiguity.

Analysts using duurmolliharmonian notation often marked shifts by using sharp and flat accidentals within the same harmonic structure, indicating a simultaneous major-minor perception. Some researchers argue that the term has limited utility outside Finnish academic circles, and encourage clearer descriptors such as “parallel major–minor modulation” instead. Nonetheless, duurmolliharmonian remains a term in niche research, frequently cited in articles about post‑classical harmonic analysis.