MUTC 121

Major And Minor Scales and their Corresponding Harmonies:

The Diatonic Harmonies of the Major Scale

I
tonic

ii
supertonic

iii
mediant

IV

subdominant
dominant

vi

vii

submediant

leading
tone

Uppercase Roman numerals (RNs) denote major harmonies.

Lowercase RNs denote minor harmonies.
The degree symbol ( ) denotes the diminished quality.

Since all major scales have the same order of intervals, they will all have the same
qualities of chords on respective scale steps. For example, any diatonic triad built on the
second degree of any major scale will be minor. Similarly, any diatonic triad built on the
seventh degree of any major scale will be diminished, all subdominant triads will be
major, all sumbediants will be minor, etc.

The Diatonic Harmonies of the Natural Minor Scale

ii

III

tonic

supertonic

mediant

iv

VI

subdominant
subdominant
mediant

VII
subtonic

In major keys, harmonies built on the 5th and 7th scale degrees have a tendency to resolve
to tonic (or at least generate our expectations for such a resolution). A strong part of this
tendency comes from the presence of a leading tone, or, a 7th scale degree that is one
half step below the tonic scale degree.
Since the natural minor scale lacks a leading tone (i.e., there is no B-natural above, only
B-flat), certain harmonies of the natural minor scale do not always work very well. These
harmonies are v and VII. (NOTE: these harmonies do occur in minor keys, they just
dont resolve to tonic in very convincing ways.)
For this reason, composers and improvisers often raise the 7th scale degree of a natural
minor scale, creating what is called a Harmonic Minor Scale.
The Diatonic Harmonies of the Harmonic Minor Scale

ii

tonic

supertonic

III+
mediant

iv
subdominant

V
dominant

VI

vii

submediant

leading
tone

The plus symbol ( + ) denotes the augmented function

This adjustment of raising the 7th scale degree of a natural minor scale creates a major
dominant and a diminished leading-tone chord. It also generates an augmented mediant
chord, which is most often (but certainly not always) avoided.
The harmonic scale sounds awkward when played melodically, which is not surprising,
since its original purpose is harmonic, not melodic! Anyway, this awkwardness comes
from the augmented second between scale degrees 6 and 7 (see A-flat to B-natural,
above). In melodic situations, this somewhat awkward leap is often (but certainly not
always) avoided.

Composers and improvisers often work around this melodic interval by raising the 6th
scale degree along with the 7th. When ascending through such a scale, these raised pitches
create a strong melodic pull towards the tonic scale degree. Composers and improvisers
frequently re-adjust scale degrees 6 and 7 when descending the scale from the tonic,
because in these situations, such a melody would not be driving toward the tonic.
Here are the diatonic harmonies of the ascending and descending forms of the Melodic
Minor scale.

ii

III

IV V

vi vii i

VII VI

iv

III ii

Note that the descending form of the melodic minor scale is identical to the
natural minor scale.

The harmonic fallout of the melodic minor scale is similar to the melodic fallout of the
harmonic minor scale. The minor supertonic chord seldom occurs (outside of pop music
and jazz). The diminished triad on scale degree 6 is not especially common, but it does
occur in classical repertoire. On the other hand, the major subdominant triad is not
uncommon at all.