The only note that differentiates the Ionian mode from the third mode of the harmonic minor system is the augmented 5th. The third mode is very similar to the Major scale (Ionian mode). Root - Maj 2nd - Maj 3rd - 4th - aug 5th - Maj 6th - Maj 7th. We’ll call this scale the Locrian #6 mode. The only difference is in its 6th which becomes Major in this particular scale. The second mode of the harmonic minor system is very close to the Locrian scale. Root - min 2nd - min 3rd - 4th - dim 5th - Maj 6th - min 7th. We could call it Aeolian Maj7 if we followed the previously described logic, but we’ll call it the harmonic minor mode. This scale is very close to the natural minor scale (Aeolian mode). Root - Maj 2nd - min 3rd - 4th - 5th - min 6th - Maj 7th. We’ll do this whenever possible for each of the seven scales extracted from the harmonic minor mode system. We’ll accomplish this by finding which church mode is the closest to the harmonic minor mode and alter it. Let’s name them in a way that they relate to those church modes. The seven modes of the harmonic minor scale are very close to the church modes (only one note changes between the harmonic minor and Aeolian modes). Before going further, we’ll name the seven modes of the harmonic minor system. For example, a chord made of a Root, minor 3rd, 5th and minor 7th will fit the fourth mode. The previous formulas will help us match the modes with their corresponding chords. Root - min 2nd - min 3rd - dim 4th - dim 5th - min 6th - dim 7th Root - aug 2nd - Maj 3rd - aug 4th - 5th - Maj 6th - Maj 7th Root - min 2nd - Maj 3rd - 4th - 5th - min 6th - min 7th Root - Maj 2nd - min 3rd - aug 4th - 5th - Maj 6th - min 7th Root - Maj 2nd - Maj 3rd - 4th - aug 5th - Maj 6th - Maj 7th Root - min 2nd - min 3rd - 4th - dim 5th - Maj 6th - min 7th Root - Maj 2nd - min 3rd - 4th - 5th - min 6th - Maj 7th You are right, to really differentiate these scales from one another we need to consider their formula as follow: If you are new to modes, you might be wondering why bother with the previous demonstration as all the scales written use the same notes.
If we follow the same logic we get seven modes each starting with one of the seven notes of the original harmonic minor scale: The previous scale is the second mode found in the harmonic mode system. Let’s now play the same exact notes starting from the B note: About Modes and Systemsīefore moving forward, it’s important to understand how modes fit in a system (church modes, harmonic minor modes, melodic minor modes, etc.) This also explains why it is often possible to borrow a mode from the harmonic minor family to phrase over a chord progression that would normally call for a church mode. This will explain the similarities you will find in the names of the harmonic minor modes and the church modes. It is important to realize that only one note differs from both scales. It is minor in the natural minor scale (Aeolian). The 7th is Major in the harmonic minor scale. Only the 7th changes between both scales. Root - Major 2nd - min 3rd - 4th - 5th - min 6th - minor 7th
Notice how that scale is very similar to the natural minor scale (Aeolian): Here is how that scale can be played in its first position starting from an A note: Root - Major 2nd - min 3rd - 4th - 5th - min 6th - Major 7th Let’s take a look at the formula of the harmonic minor scale: As you would have guessed, the harmonic minor mode is a minor scale: it has a minor third. Harmonic Minor Scaleīefore talking about all the modes that are part of the harmonic minor scale, let’s discuss and define the scale from which all these modes are extracted.
#HARMONIC MINOR MODES HOW TO#
This article will help you understand the logic behind their names and give you an insight on how to use these exotic scales in your music. The problem lies in the fact that those modes can have more than one name. You might be confused about their use and about their names.
If you’ve been playing modal for a while, you probably have heard about the harmonic minor modes.
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