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The harmonic minor scale and its scales and chords

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The harmonic minor scale with the structure 1 - 9 - m3 - 11- 5 - b13 - maj7 is a scale that is used very frequently worldwide. The minor third between the b13 and the maj7 gives it its extraordinary, dramatizing character.

HM1 - ImMaj7:
The ImMaj7 chord formed from the 1st, 3rd, 5th, and 7th tone is, as in Melodic minor, a minor chord with a major seventh. There is only one difference: the b13 instead of the 13. The 11 and b13, here the F and the Ab, are considered the avoid notes because they sound inappropriate and disharmonic in this minor major chord.

HM2 - IIm7b5:
From the second tone, here the D, i.e. C harmonic minor from tone D, the following scale HM2 results:

The IIm7b5 chord formed from the 1st, 3rd, 5th and 7th tone is again a minor seventh chord with a diminished fifth. The scale corresponds to the Locrian mode with the exception of the 13 instead of the b13. The 13, here the B, is considered the avoid note in the harmonic minor progression because it would anticipate the major seventh in the I chord or the major third in the V7 chord.

HM3 - bIIImaj7#5:
From the third tone, here the Eb, i.e. C harmonic minor from Eb, the following scale HM3 results:

The bIIImaj7#5 chord, here Ebmaj7#5, formed from the 1st, 3rd, 5th and 7th note, is a Major7 chord with an augmented fifth, which includes an augmented triad. Here the 11 and 13 are considered the avoid notes because they sound inappropriate and dissonant in this major chord.

HM4 - IVm7:
From the fourth note, here the F, i.e. C harmonic minor from the note F, the following scale HM4 results:

The IVm7 chord, here Fm7, formed from the 1st, 3rd, 5th and 7th tone is a minor seventh chord. Except for #11, HM4 is identical to the Dorian mode.The #11 is considered the avoid note because it sounds inappropriate and disharmonic in this chord.

HM5 - V7:
From the fifth tone, here the G, i.e. C harmonic minor from tone G, the following scale HM5 results:

The V7 chord, here G7, formed from the 1st, 3rd, 5th and 7th tone is a dominant 7th chord. HM5 has the tensions b9 and b13, which lead to resolution to minor. The 11 is considered the avoid note because it sounds inappropriate and disharmonic in this chord.

HM6 - bVImaj7#11:
The following scale HM6 results from the sixth tone, here the down, i.e. C harmonic minor from the down tone:

The bVImaj7 chord, here Abmaj7, formed from the 1st, 3rd, 5th and 7th note is a Major7 chord with an augmented fourth (#11). Except for #9, HM6 is identical to the Lydian mode. The #9 is considered the avoid note because it sounds inappropriate and disharmonic in this chord.

HM7:
From the seventh note, here the B, i.e. C harmonic minor from note B, the following scale HM7 results:

The chord formed from the 1st, 3rd, 5th and 7th tone, here B°, is a diminished chord, a stack of three minor thirds. The b9 and M3 are considered the avoid notes because they sound inappropriate and disharmonic in this chord.


Resumé:

The following chords and scales can be derived from the harmonic minor scale: