In our endless fascination with symmetry we mistake its instances for a generalised property of value and in attributing significance this way we tend to totally miss the point.
More important than this or that symmetry group or identifiable pattern of encoded mathematical relationship and patterned ratio was always the mischievously-binding fact (and counter-intuitively asymmetrical ontological symmetry) of the existence of symmetry at all, of – that is – the existence of something rather than nothing.
Broken symmetry and discontinuity are themselves really just another form of symmetry and counterfactual extension of a principle, rather than its negation.
A minor chord possesses a slightly broken form of that harmonic series (i.e. symmetry) that in perfect ratio occurs in the major chord but for all its robust abstract or architectural strength represents a much less interesting entity and artefact, much like a person or a life, into which a little melancholy chaos or unexpected entropy occurs.
This is why the Greek Gods were so interesting – they were fallible, imperfect and thoroughly entertaining for it.
The imperfection in any narrative, image or simulation are what truly allows us – when it is conducted with sufficient sophistication – to suspend our disbelief in the reality with which we are presented.
This is why I suspect that the minor key is more natural and accurate to the actual state of our world and the delicate discontinuity of subtle misalignment is the true nature of our selves, our lives and our endlessly problematic loves.