Harmonic Minor

Harmonic Minor Scale

The harmonic minor scale is an ultra useful and ultra common scale. 

Essentially, the harmonic minor scale is based off of the natural minor scale (aeolian) but the 7th degree is raised to a major 7. 

When we build 7th chords from this scale, we achieve a V7 chord. The raised 7 makes the 3rd in the V chord a major 3rd instead of a minor 3rd. This is the main reason for using this scale:

We can now have minor progressions with a V7 chord to create a stronger pull back to our tonic.

It is worth noting that this scale includes an augmented 2nd interval (3 frets) between the b6 and 7 degrees. This interval is not so good for making melodies, but is very strong and stands out when improvising. It is very middle-eastern sounding:

1   2   b3   4   5   b6   7

For all practical reasons, the harmonic minor scale should be used when improvising in a minor progression when you are going from V7 to Imi. The presence of the leading tone (7) creates an obvious pull towards tonic resolution.

For example: in the progression Ami Dmi E7, you would play Ami (aeolian) over the Ami and Dmi chords, and A harmonic minor over the E7 chord. Since the difference in scales is only the 7th degree, this is easily accomplished by just nailing the leading tone (7) over the V7 chord.

The harmonic minor scale is also useful in creating other interesting chord changes. Below is the harmonized harmonic minor scale in triads as well as 7th chords:

Triads:

Imi      IIdim      bIIIaug      IVmi      Vma      bVIma      VIIdim

7th Chords:

Iminmaj7      IImi7b5      bIIIma7#5      IVmi7      V7       bVIma7       VIIdim7

You will immediately notice that some of these chords sound very strange. The minmaj7 is particularly strange, containing both a b3 and a 7. This is commonly known as the James Bond chord. Hit it... you'll see. 

Additionally, the bVImaj and VIIdim are particularly useful in spicing up minor progressions.

One more thing: While obviously we can create modes from any scale, there are no specific names for modes of the harmonic minor scale, for most of them are useless, save one: the mode build on the 5th degree, commonly referred to as phrygian dominant (phrygian scale with a major 3rd).

I only bring this up because, since we typically use the harmonic minor scale over the V7 chord in a minor progression, the root of the V7 chord is the 5th degree of the scale, so it is useful to think of our scale from that tonal center. 

Example: play A harmonic minor starting and ending on E over an E major or E7 chord. Think Yngwie Malmsteen.

I have attached all five patterns of the harmonic minor scale and some jam tracks for you to play along with. Learn this scale just as you have all the others before. You are going to love this scale.

Jam Tracks:

1.  A harmonic minor - Imi - IVmi  V7

2.  B harmonic minor - Imi - IVmi  V7

3.  E harmonic minor - Imi - IVmi  V7

4.  C mima7 vamp