Hey everyone,

As promised, here’s a follow-up lesson that takes the approach I explored in Part 13 and Part 14 and now applies it to the Harmonic Minor scale.

I’ll use C Harmonic Minor in this case – but this idea will work on any root.

Chords

Before we get too far into the lick side of this let’s look at the chords to see what we can play this over.

Here are the diatonic triads and 7th chords.

Harmonic Minor Notes:

• C Harmonic Minor is spelled C, D, Eb, F, G, Ab, B, C – and from the root note the step and a 1/2 between the Ab and the B is a very distinctive sound of the scale.  

• This scale has a lot of cool arpeggios and chord scale associations, but the most commonly used scales and modes are the root scale and the mode based on the 5th of the scale (R, b2, 3, 4, 5, b6, b7).  Having said that, modes starting on the b3 and 4th add some really cool sounds as well.

Now let’s talk about visualizing the scale.

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Harmonic Minor

I’ve talked about my approach to Harmonic Minor briefly in part 9 of this series – but as a brief review:

Major Scale/Modal Visualization Review

• The guitar fingerboard can be divided into 3 sets of two strings. Any 2-string fingering pattern that starts on the B string can be moved to the same starting pitch on the D or the low E string and keep the same fingering.

• The major scale can be broken down into seven two-string modes that follow a specific order based on its scale degree from the parent scale (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian). The two-string patterns are modular and can be adapted to positional playing.

• Instead of thinking of individual modes when playing,  I tend to think of larger tonal systems (i.e. I think of C Major all over the fingerboard instead of D Dorian or A Aeolian.)

• By thinking of the fingerboard in a larger scale – it makes it easier for me to navigate Melodic and Harmonic Minor as – solely from a fingering/sonic visualization standpoint – I just see it as variations of the Major scale patterns.

To visualize Harmonic Minor patterns – simply flat the 3rd and the 6th of the Parent Major scale. (i.e. to visualize C Melodic Minor just play C major but change every E  to Eb, and change every A to Ab).

It’s important to note that all of the fingering conventions mentioned here are solely to assist with visualization as Melodic and Harmonic Minor really aren’t directly related to the Major scale sonically.

Here’s C Major

Here’s the audio.

Note:

In all the audio examples, I’ve played the example first as sextuplets – then at a slower tempo (i.e. 16ths) – then as sextuplets again.

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Here’s the same scale pattern – I left off the text “Pattern 6” in the example be by mistake but the sequence is Ionian b3, b6 (Pattern 1 ), Locrian b4 (Pattern 7) and Ionian b5, bRoot (Pattern 6).  You can really see this if you compare it to the initial major patterns.

Now let’s take this not-peggio idea from the last lesson and apply it to C Harmonic Minor starting from G.

In each of the following I’ll show the 2-string pattern followed by the 4-note “notpeggio” extraction from that fingering and then show the multi octave form.

Note:  The extraction always starts from the second note of the 6-note pattern – so while the first example is extracted from the F Lydian fingering – it’s viewed as a G based pattern.

From G

Note: this G-based pattern is the same as the C major and the C Melodic Minor G shape. It’s functional but a little plain sounding over a G major chord.

From Ab

Note: this R-3-#4-5 extraction works great as a lydian sound from the Root (Ab Lydian in this case) or a Dorian Sound over the vi (F minor in this case)

From B

Note: even though the original shape is different, this R-b3-b4th-b5 extraction is the same as the Melodic Minor pattern and is something you may want to explore over diminished chords.

From C

Note: this C pattern shape is the same as the C-Based C Melodic Minor pattern.

From D

Note: this R-b3-4-b5 extraction is right out of the D-Blues scale and can be used in the same context (just remember to resolve the Ab!)

From Eb

Note: this is a new shape from the other patterns we’ve seen. The R-3-4-b5 (i.e. major b5 (add 11) sound mixed with the min3-min2-augmented 2nd construction and the added chromatic weight from the G to Ab  makes it sound a bit harmonically unsettled over an Eb root.  I think it’s one of the more interesting sounds of the scale along with the final extraction….

From F

Note: this is a new shape from the other patterns we’ve seen. The R-b3-#4-5 (i.e. minor add (#11)) sound is a really nice spice to incorporate in your melodic ideas!

Here’s an audio sample of the 3/4 measures in ascending order from G

In the next lesson I’ll look at using these extractions positionally.  It’s a Scott Collins original idea – and not one that I’ve heard anyone else really employ in this manner!

Practice Tips

As always, focus on the 3 T’s (Timing, Tone and hand Tension) when playing through these and make sure to have the timing locked in as you increase the metronome speed.  This approach is just a short cut to getting the patterns under your fingers.  By practicing them slowly and increasing the performance tempo gradually, you’re also getting the sound of them in your head – which is critical if they’re something you want to integrate in your playing!

As always, I hope this helps and thanks for reading!

– SC

PS – One plug here.  If you like this idea – I go MUCH deeper into similar concepts in my Guide to Chord Scales book – which covers every unique melodic combination from 3 notes to 12-note scales!!