Harmonic Minor and Augmented Chords
As noted in the last lesson, the dominant-function chords in natural minor do not contain the M7 or 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.
Harmonic minor seeks to remedy this by simply sharping the 7th of the natural minor scale.
Contents
PreReqs
A Harmonic Minor
The A Harmonic Minor scale is thus A - B - C - D - E - F - G♯ - A.
Open Position
e---------------------------------------------- b---------------------------------------------- g-------------------1--2--1-------------------- d----------0--2--3-----------3--2--0----------- a-0--2--3-----------------------------3--2--0-- e---------------------------------------------- A B C D E F G# A G# F E D C B A
e-------------------------------------------0--1--4-/5-- b----------------------------------0--1--3-------------- g----------------------------1--2----------------------- d-------------------0--2--3----------------------------- a----------0--2--3-------------------------------------- e-0--1--4----------------------------------------------- E F G# A B C D E F G# A B C D E F G# A
Changes to whole-half Pattern
By changing one of the notes, we change the whole-half sequence of the notes in the scale. We now have:
w-h-w-w-h-(w+h)-h A B C D E F G# A
That (w+h) is 1 whole step + 1 half step, or 3 half-steps, or 1.5 whole steps. 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)...
Changes to Diatonic Chords
The sharped 7th impacts the 3 dominant-function chords: the III, v, and VII.
| Natural Minor | Harmonic Minor | Raised note in chord |
What Happened? |
|---|---|---|---|
| III | III+ | 5th | Raising the 5th of a major chord makes it augmented |
| v | V | 3rd | Raising the 3rd of a minor chord makes it major |
| VII | vii° | root | Raising the root of a major chord makes it diminished |
Here's the full list of diatonic chords:
| Chord in A Harmonic Minor |
Harmonic Name |
Harmonic Function |
|---|---|---|
| Am | i | Tonic |
| Bdim | ii° | Pre-Dominant |
| C+ | III+ | Dominant/Tonic |
| Dm | iv | Pre-Dominant |
| E | V | Dominant |
| F | VI | Tonic/Pre-dominant |
| G#dim | vii° | Dominant |
Sample Progressions
Let's revisit the progressions from natural minor, adjusting the chords where necessary...
Am Dm/A E Am i iv V i e--0------1------0------0-- b--1------3------0------1-- g--2------2------1------2-- d--2------0------2------2-- a--0------0------2------0-- e----------------0---------
Am C+ F B° C+ F B° E Am i III+ VI ii° III+ VI ii° V i e-0-------------|-0----1---1------|-0----1---1----0-|-0---------- b-1-------------|-1----1---3------|-1----1---3----0-|-1---------- g-2-------------|-1----2---x------|-1----2---x----1-|-2---------- d-2-------------|-2----3---3------|-2----3---3----2-|-2---------- a-0-------------|-3--------2------|-3--------2----2-|-0---------- e---------------|-----------------|---------------0-|------------
Quite an impact, yes? You can definitely hear the increased tension of the dominant chord and stronger resolution to tonic.
Augmented Chord
Whoa? What's that C+ chord? Augmented? Yeah, we may have got ahead of ourselves slightly.
An augmented triad consists of a root note, its major 3rd, and its augmented 5th. The augmented fifth is a major 3rd above the major 3rd, 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 weird.
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.
Here are some fingering charts:
| Open Pos. | 1st Inv. | 2nd Inv. |
|---|---|---|
E o|-|-|-|-| C ||i|-|-|-| G# ||i|-|-|-| E ||-|m|-|-| C ||-|-|r|-| E o|-|-|-|-| |
||-|-|-|-|-|
||-|-|-|-|-|
G# ||i|-|-|-|-|
E ||-|m|-|-|-|
C ||-|-|r|-|-|
G# ||-|-|-|p|-|
|
E o|-|-|-|-|
C ||r|-|-|-|
G# ||m|-|-|-|
E ||-|p|-|-|
||-|-|-|-|
||-|-|-|-|
|
Although I call the last 2 examples inversions, they are identical to other root position augmented chords. The distance between each note and those above and below it is always a M3.
C+ C+/E C+/G# e---------0--------- b---1-----1--------- g---1-----1-----1--- d---2-----2-----2--- a---3-----------3--- e---------------4---
Instead of saying C+/E (C+ 1st inversion), we could just as easily call that a E+ (E G♯ B♯) - C and B♯ are enharmonic. Similarly, C+/G♯ is the same pitches as G♯+ (G♯ B♯ D♯♯), D♯♯ = E.