John Eliot Gardiner hears this chord in context as an "unexpected and almost excruciating dissonance. The chord occurs on the first beat, but the sharp seventh (B natural) is resolved upwards to a C. However, a striking example may be found in the final bar of Bach's St Matthew Passion. This chord appears in classical music, but it is used more in the late Romantic period than in the Classical and Baroque periods. Traditionally, in classical and jazz contexts, when building a chord on the dominant of the minor tonality, this raised seventh is present, and so both of these chords have a strong pull to the tonic. This half step creates a pull ( leading tone) to the tonic that is useful in harmonic context and is not present in the natural minor scale. The harmonic minor scale has a raised seventh, creating a minor second (half step) between the seventh and the octave. Audio playback is not supported in your browser.
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