Changes

{{Intermediate Lesson CrumbsAs noted in the [[Music Theory - Minor Keys|4}}last lesson]], the dominant-function chords in natural minor do not contain the note a M7 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.

As noted in The '''harmonic minor scale''' seeks to remedy this by using the [[Music Theory - Minor Keys|last lesson]], same notes as the dominant-function chords in natural minor do not contain scale, but sharping the 7th note to get 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.

The <u>''A harmonic minor scale</u> seeks to remedy this by using key is typically marked with the same notes as shorthand "hm" after the tonic note name.'' For example, "C" is C Major, "Am" is A Minor (natural minor scale), but sharping the 7th note to get the leading toneand "Ahm" is A Harmonic Minor.

The '''A Harmonic Minor scale ''' is thus composed of A - B - C - D - E - F - G{{s}} - A.

w-h-w-w-h-(w+h)-h

w-h-w-w-h-+-- h

Some composers value the scale simply for that Eastern sound. Think of Kirk Hammet's solos in '''''Metallica''''' 's ''Wherever I May Roam''.

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.

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

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:

Instead of saying C+/E (C+ 1st inversion), we could just as easily call that a E+ (E G{{s}} B{{s}}) - C and B{{s}} are enharmonic. Similarly, C+/G{{s}} is the same pitches as G{{s}}+ (G{{s}} B{{s}} D{{s}}{{sds}}), D{{s}}{{sds}} = E.

| E || E || D{{s}}{{sds}}

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}}{{sds}} 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.