Formula
- Degrees: 1 2 b3 4 5 b6 7.
- Steps: W H W W H 1½ H (2 1 2 2 1 3 1 semitones).
- On A: A B C D E F G#. On C: C D Eb F G Ab B. On E: E F# G A B C D#.
Trick: it is natural minor with a raised 7th (leading tone).
Why it exists
In tonal practice natural minor has no leading tone: the v is minor (Em in A minor) and the cadence is weak. Raising the 7th degree (G → G#) gives you the major dominant V (E) and V7 (E7), and the diminished seventh vii°7 (G#°7). The name “harmonic” comes precisely from this: it is the scale born from the needs of harmony. The price is the augmented 2nd between the b6 and the 7 (F – G#, 3 semitones), an interval considered awkward to sing in classical voice leading (hence the melodic minor).
Characteristic note and color
The leading tone (7) combined with the b6: the augmented 2nd F – G# is the “Oriental”, dramatic, Baroque or Gothic sound you recognize at once. Color: tragic, intense, exotic.
Diatonic chords (A harmonic minor)
| Degree | Triad | Seventh |
|---|---|---|
| i | Am | Am(maj7) |
| ii° | B° | Bø7 |
| bIII+ | C+ | Cmaj7#5 |
| iv | Dm | Dm7 |
| V | E | E7 |
| bVI | F | Fmaj7 |
| vii° | G#° | G#°7 |
The V7 and the vii°7 are the raison d'être of the scale. Typical progressions: i – iv – V – i, i – bVI – V, iiø7 – V7 – i, i – vii°7 – i.
The seven modes
| Mode | Formula | On A (family of A harmonic minor) |
|---|---|---|
| 1. Harmonic minor | 1 2 b3 4 5 b6 7 | A B C D E F G# |
| 2. Locrian #6 | 1 b2 b3 4 b5 6 b7 | B C D E F G# A |
| 3. Ionian #5 | 1 2 3 4 #5 6 7 | C D E F G# A B |
| 4. Dorian #4 (Ukrainian) | 1 2 b3 #4 5 6 b7 | D E F G# A B C |
| 5. Phrygian dominant | 1 b2 3 4 5 b6 b7 | E F G# A B C D |
| 6. Lydian #2 | 1 #2 3 #4 5 6 7 | F G# A B C D E |
| 7. Super Locrian bb7 | 1 b2 b3 b4 b5 b6 bb7 | G# A B C D E F |
Each has a dedicated card. The most used by far is the 5th, Phrygian dominant, over the V7 of a minor key.
Use in genres
- Baroque and Classical: Bach (Inventions, preludes in minor), Mozart (Symphony No. 40 in G minor K. 550, with the F# leading tone), Beethoven (“Für Elise”: the E – G# passage in the A minor theme).
- Neoclassical metal: Yngwie Malmsteen and shred guitarists use harmonic scales and arpeggios, often from the 5th degree (Phrygian dominant).
- Electronic pop: “Sweet Dreams (Are Made of This)” (Eurythmics), Cm – Ab – G: the G major with the B natural is the harmonic dominant.
- Trap, drill and hip hop: many piano and “Oriental” flute melodies in harmonic minor; the leading tone on the upbeat before the tonic is a typical trait.
- Eastern European music, klezmer, flamenco: above all through modes 4 and 5.
Melodies
- The augmented 2nd used openly (F – G# – A) gives the “exotic” color; avoided (with F – E or G# – A) it gives a classical color.
- The most typical cadential gesture: b6 – 5 and 7 – 1 together (F – E and G# – A), i.e. the resolution of the vii°7 or of the V7(b9).
Common mistakes
- Using harmonic minor over all the chords of a minor-key piece: over i, iv and bVI natural minor often sounds better; the leading tone is needed mainly on the V and the vii°.
- Writing G# as Ab: the leading tone is always written as the 7th degree (letter G).
- Putting the G# in the melody over a G major chord (bVII): a direct conflict.
Exercise
- Loop Am – F – E – Am at 85 BPM: improvise with A natural minor over Am and F, with A harmonic minor over E.
- Write a “trap” melody in C harmonic minor that uses the augmented 2nd Ab – B and resolves to C.
- Harmonize one of your minor themes with V7 and vii°7 instead of v and bVII: listen to how it becomes more “classical”.
Connections
Major scale and minor scales; Harmony in minor keys; Phrygian dominant; Melodic minor; Diminished seventh chord; Harmonic major.