harmonic) with about two cents error. Alexander J. Ellis proposes that the conflict between mathematicians and physicists on one hand and practicing musicians on the other regarding the supposed inferiority of the minor chord and scale to the major may be explained due to physicists' comparison of just minor and major triads, in which case minor comes out the loser, versus the musicians' comparison of the equal tempered triads, in which case minor comes out the winner since the ET major third is about 14 cents sharp from the just major third (5:4, 386.3 cents), but just about four cents narrower than the 19-limit major third (24:19, 404.4 cents); while the ET minor third closely approximates the 19:16 minor third which many find pleasing. Advanced theory In the Neo-Riemannian theory, the minor mode is considered the inverse of the major mode, an upside down major scale based on (theoretical) undertones rather than (actual) overtones (harmonics) (See also: Utonality). The 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 is A (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, subdominant, or dominant function, with, for instance, in C, A minor being considered the tonic parallel (US relative), Tp, the use of minor mode root chord progressions in major such as A-major–B-major–C-major is analyzed as sP–dP–T, the minor subdominant parallel (see: parallel chord), the minor dominant parallel, and the major tonic. See also Gypsy scale List of major/minor compositions Music written in all major and/or minor keys Otonality and Utonality References Intervals (music) Harmony Musical scales