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The '''A Harmonic Minor scale ''' is thus composed of A - B - C - D - E - F - G{{s}} - A.
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{{Intermediate Lesson Crumbs|4}}
As noted in the [[Music Theory - Minor Keys|last lesson]], the dominant-function chords in natural minor do not contain the note a M7 or above the root (ie half-step below), also known as the leading tone. This makes them less tense or distant than dominant-function chords in a major key. And thus the dominant - tonic progression has less resolution in natural minor than major.
The <u>'''harmonic minor scale</u> ''' seeks to remedy this by using the same notes as the natural minor scale, but sharping the 7th note to get the leading tone.
''A harmonic minor key is typically marked with the shorthand "hm" after the tonic note name.'' For example, "C" is C Major, "Am" is A Minor (natural), and "Ahm" is A Harmonic Minor.
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===Open Position===
That (w+h) is 1 whole step + 1 half step, or 3 half-steps, or 1.5 whole steps (marked as "+" in whole-half patterns) . And the scale itself now contains 3 half steps instead of 2. Such 1.5 step jumps in a scale and numerous half-steps are more commonly associated with Eastern-sounding music. When you play the scale, it should be quite apparent.
Some composers value the scale simply for that Eastern sound. Think of Kirk Hammet's solos in '''''Metallica''''' 's ''Wherever I May Roam''.
However, the classical usage was more focused on its impact on harmony (hence ''harmonic'' minor)...
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The sharped 7th impacts the 3 dominant-function chordsof natural minor: the III, v, and VII. This does not change their harmonic function - they still function as dominant chords "wanting" to resolve to tonic. However, it does change the relative tension they create and the strength of their resolution to tonic, as the leading tone to tonic movement is a stronger resolution.
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Whoa? What's that III+ (C+) chord? This is an augmented chord.
An <u>'''augmented chord</u> ''' consists of a root note, its major 3rd, and its augmented 5th. The augmented fifth is the same distance as two major 3rds, so the chord consists of 2 major thirds and one augmented 5th (and their inverses). While the major 3rds are quite harmonic, the augmented 5th is a bit less so - more similar to a minor 3rd. But the real kicker is that we're missing the perfect 5th, which is the most harmonic interval. Thus, the chord sounds quite weirdand unsettling, but not as dissonant as a diminished chord.
Also, the distance from the augmented 5th to the octave is another major 3rd. Thus, the augmented chord looks like a bunch of stacked M3 intervals. This is demonstrated on a single string: -M3- -M3- -M3- --0----4----8----12-- R 3 5 R Or as a chord on the bottom 4 strings: G----------------0- D-----------1------ A------2----------- E-3---------------- R 3 5 R Here are some fingering charts:
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=== Enharmonic Notes and Harmonic Function ===
Two notes are <u>'''enharmonic</u> ''' if they have the same pitch but are spelled differently. For instance, B{{s}} and C are enharmonic, as are D{{s}}{{s}} and E. It seems simplest to always use the least amount of sharps and flats possible, changing notes to their enharmonic equivalents. This is a good approach where harmonic function is obvious and doing so would not be controversial, which is most of modern popular music. However, in classical music, the note name often implies more than just a pitch, but a function.
In the above example, the E+ and G+ chords are not diatonic to the key of Am. Writing them as such instead of as inversions of C+ could be construed as a modulation into a different key, and that the E+ or G+ chords were not the III+ chord of A Harmonic minor and will function differently.