You can use the E7 in a minor II V I like this:īut it also works great in a major cadence as a surprising sound that quickly resolves back to the tonic: G#dim – More than just A minor progressions Of those three the E7(b9,11) is not that nice, but the E7(b9,b13) is a great description of how the dominant sounds.Īnd some of the arpeggios that work well for this chord would be: Using E7 from harmonic minor This gives us these E7 chords shown below. You get this chord by stacking 3rds in the scale. In this scale we have an E7 with a b9 and a b13: This is the primary function for A harmonic minor E7 – In Minor and in Major You want to have a dominant chord to really hear that the piece is in A minor. The A natural minor scale has these diatonic chords:Ī harmonic minor A B C D E F G# A has these diatonic chords: One way to understand Harmonic minor is to see it as a minor scale that Is changed so that we have a dominant chord. Two are extremely common and in a lot of songs and one is a very specific sound that is a great way to change things up a bit and a good introduction to poly chords. The 3 chords that I am going to focus on are the 3 last diatonic chords: E7, Fmaj7 and G#dim.
![d minor harmonic scale d minor harmonic scale](http://bassguitarscales.org/scale/d-harmonic-minor/d-harmonic-minor-5.png)
The diatonic 7th chords of A harmonic minor would be: A harmonic minor – What we use it for and why I am going to apply it to 3 chords, and to have some chords that you can use we need to just check out the diatonic chords in harmonic minor.