Below are the mode names, their degrees, and the following seventh chords that can be built using each modal tonic or degree of the parent mode as the root: a major seventh chord, a half-diminished seventh chord, a minor seventh chord, a minor major seventh chord, a dominant seventh chord, an augmented major seventh chord, and a diminished seventh chord. The harmonic major scale has its own set of modes, distinct from the harmonic minor, melodic minor, and major modes, depending on which note serves as the tonic. The harmonic major scale may be used to construct the following chords, which also may be thought of as borrowed from the parallel minor: the dominant minor ninth chord, the fully diminished seventh leading tone chord, the supertonic diminished triad, the supertonic half-diminished seventh chord, and the minor subdominant. Whole, whole, half, whole, half, augmented second, half The intervals between the notes of a harmonic major scale follow the sequence below: It can be considered a major scale with the sixth degree lowered, Ionian ♭6, or the harmonic minor scale with the third degree raised. It corresponds to the Raga Sarasangi in Indian Carnatic music.

In George Russell's Lydian Chromatic Concept it is the fifth mode (V) of the Lydian Diminished scale. In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz.

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Which scale is an e flat major scale