Formula
- Degrees: 1 2 3 4 5 b6 7.
- Steps: T T S T S 1½ S (2 2 1 2 1 3 1 semitones).
- On C: C D E F G Ab B. On G: G A B C D Eb F#. On F: F G A Bb C Db E.
It is the major scale with a lowered 6th, or harmonic minor with a raised 3rd. The lower tetrachord is major (C D E F), the upper one is harmonic (G Ab B C). It was discussed as an independent scale by Rimsky-Korsakov and by various nineteenth-century theorists.
Characteristic note and color
The b6 in a major context, with the augmented 2nd b6 – 7 (Ab – B). Color: major with a shadow, Romantic, “bittersweet” and dramatic; it is the sound of the major key borrowing the minor iv without losing the leading tone.
Diatonic chords (C harmonic major)
| Degree | Triad | Seventh |
|---|---|---|
| I | C | Cmaj7 |
| ii° | D° | Dø7 |
| iii | Em | Em7 |
| iv | Fm | Fm(maj7) |
| V | G | G7 (G7b9) |
| bVI+ | Ab+ | Abmaj7#5 |
| vii° | B° | B°7 |
Typical moves: I – iv – I (C – Fm – C) with a major dominant, iv – V7(b9) – I, vii°7 – I in major (B°7 → C, the “full” diminished seventh in a major key, extremely common in classical music), iiø7 – V7 – I in major.
The seven modes
| Mode | Formula | On C (C harmonic major family) |
|---|---|---|
| 1. Harmonic major | 1 2 3 4 5 b6 7 | C D E F G Ab B |
| 2. Dorian b5 | 1 2 b3 4 b5 6 b7 | D E F G Ab B C |
| 3. Phrygian b4 (altered ♮5) | 1 b2 b3 b4 5 b6 b7 | E F G Ab B C D |
| 4. Lydian b3 (melodic minor #4) | 1 2 b3 #4 5 6 7 | F G Ab B C D E |
| 5. Mixolydian b2 | 1 b2 3 4 5 6 b7 | G Ab B C D E F |
| 6. Lydian augmented #2 | 1 #2 3 #4 #5 6 7 | Ab B C D E F G |
| 7. Locrian bb7 | 1 b2 b3 4 b5 b6 bb7 | B C D E F G Ab |
The most useful is the 5th, Mixolydian b2: the scale of V7(b9) in a major key (G7b9 → C with the natural 13th E). The 4th (Lydian b3) is the scale of the minor iv with the #11 (Fm(maj7#11)).
Use in genres
- Romantic classical: Chopin, Schubert, Brahms, Tchaikovsky constantly use the minor iv, vii°7 and V7b9 in major. The harmonic major scale is the “summary” of these choices.
- Pop and rock: the minor iv in major (C – Fm) is a classic gesture of the Beatles and of ballads; “In My Life” (The Beatles) and “Creep” (Radiohead) move from IV to iv.
- Film music: “heroic-nostalgic” themes with I – iv – I and a major dominant; many Hollywood composers use the minor iv as a chord of emotion.
- Jazz: V7b9 with natural 13th in major (G13b9), typical voicings of gospel and soul.
Melodies
- b6 – 5 over the iv or the V (Ab – G) and 7 – 1 over the V: the double appoggiatura that leads to the tonic.
- The augmented 2nd Ab – B used ascending gives an exotic color; descending (B – Ab – G) it is more “classical”.
Common mistakes
- Putting A natural and Ab in the same chord: choose the color.
- Using the whole scale over the major I for a long time: the b6 above the tonic is a strong tension, more effective over iv and V.
- Confusing it with Mixolydian b6 (which has a b7).
Exercise
- Loop C – Am – Fm – G7b9 – C: improvise with C major over the first two chords and C harmonic major over the last two.
- Harmonize the final cadence of one of your own pieces with B°7 – C instead of G7 – C.
- Over G7b9 (G B D F Ab E) play G Mixolydian b2: G Ab B C D E F.
Related
Major scale and minor scales; Harmonic minor; Modal interchange; Diminished seventh chord; Set theory (2) (7-32: harmonic major and minor are inversions).