The scale is called the
harmonic minor scale because it is a common foundation for
harmonies (chords) in minor keys. Traditionally, "the main use for harmonic minor, when improvising or creating melodies, is over the V7 chord,
not for use over the i chord." For example, in the key of A minor, the
dominant (V) chord (the
triad built on the 5th scale degree, E) is a
minor triad in the natural minor scale. But when the seventh degree is raised from G to G, the triad becomes a
major triad. "In fact, it created even more tension than the major key V7. This is because the scale not only outlines the notes of E7 [V7] but also adds new tension notes like the 5 [C to B] and 9 [F to E]." Chords on degrees other than V may also include the raised 7th degree, such as the
diminished triad on VII itself (vii), which has a
dominant function, as well as an
augmented triad on III (III), which is not found in any "natural" harmony (that is, harmony that is derived from harmonizing the seven Western modes, which include "major" and "minor"). This augmented fifth chord (5 chord) played a part in the development of modern
chromaticism. The triads built on each scale degree follow a distinct pattern. The
Roman numeral analysis is shown below. : { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/1 \hide Staff.TimeSignature 1_\markup i _\markup ii° _\markup III+ _\markup iv _\markup V _\markup VI _\markup vii° } } An interesting property of the harmonic minor scale is that it contains two chords that are each
generated by just one interval: • an augmented triad (III), which is generated by major thirds • a
diminished seventh chord (vii7), which is generated by minor thirds Because they are generated by just one interval, the
inversions of augmented triads and diminished seventh chords introduce no new intervals (allowing for
enharmonic equivalents) that are absent from its root position. That is, any inversion of an augmented triad (or diminished seventh chord) is enharmonically equivalent to a new augmented triad (or diminished seventh chord) in
root position. For example, the triad E–G–B in first inversion is G–B–E, which is enharmonically equivalent to the augmented triad G–B–D. One chord, with various spellings, may therefore have various harmonic functions in various keys. The seventh chords built on each scale degree follow a distinct pattern. The
Roman numeral analysis is shown in parentheses below. Harmonic minor contains seven types of seventh chords: a
minor major seventh chord (im(maj7)), a
half-diminished seventh chord (iim7(−5)), an
augmented major seventh chord (IIIaug(maj7)), a
minor seventh chord (ivm7), a
dominant seventh chord (V7), a
major seventh chord (VImaj7), and a
diminished seventh chord (viidim7). Natural minor only contains four types of seventh chords: three minor seventh chords (im7, ivm7, and vm7), a half-diminished seventh chord (iim7(-5)), two major seventh chords (IIImaj7 and VImaj7), and a dominant seventh chord (VII7). : { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/1 \hide Staff.TimeSignature 1_\markup i♮7 _\markup iiø7 _\markup III+7 _\markup ivm7 _\markup V7 _\markup VIM7 _\markup vii°7 } } • 1st:
minor-major seventh chord (i♮7) • 2nd:
half diminished seventh chord (iiø7) • 3rd:
augmented major seventh chord (III+7) • 4th:
minor seventh chord (ivm7) • 5th:
dominant seventh chord (V7) • 6th:
major seventh chord (VIM7) • 7th:
diminished seventh chord (viio7) == Modes of harmonic minor scale ==