Mode Lesson 2: Harmonic Minor - I smell bach-rock!

jem7vwh · #1 04-19-2001, 06:36 PM

Mode Lesson 2: Harmonic Minor.

There seems to be some discussion as to whether this is really a Mode or a Scale. I really don't care, honestly. Either way, it's simply a manipulation of the 12 notes to achieve a tonality. Much like Lydian and Mixolydian and Dorian, Harmonic Minor can most easily be summed up as a variation on the Major or Minor scales. Harmonic Minor is created either by flatting the 3 and 6 of the major scale or sharping the 7 of the same minor scale. Let's use A.
A Major: A, B, C#, D, E, F#, G#, A
flat the 3 and 6
A Harmonic Minor: A, B, C, D, E, F, G#, A

A Minor: A, B, C, D, E, F, G, A,
Sharp the 7
A Harmonic Minor: A, B, C, D, E, F, G#, A
So either way it works. Why does this scale sound so medieval? There are 3 half steps between the 6 and 7. This space of three spaces between two adjacent notes in a scale is called a Augmented Second and it creates the disjointed feeling so common in classical compositions. Because this is such a disjointed sounding scale, theorists often argue it's not such a fun scale to try and create melodies over, but rather that you should choose chords from Natural Minor and solo over them in Harmonic Minor. This is primarily what folks like Yngwie do. Because of the Augmented Second between the 6 & 7, you may find fluidity a struggle. This is where your pinky comes in folks. In my experience, the average player has little control and strength in his pinky finger. This is most important. Let's use A Harmonic Minor and I'll give you a few examples to practice with.

Code:

e------------------
B------------------
G------------------
D------------------
A---------7-8-11-12
E-4-5-7-8----------

run these sort of riffs up and down the neck, make sure you always alternate pick and you won't have to relearn later.

also try this sort of lick called a spider

Code:

e--------
B--------
G--------
D--------
A--------
E-4-7-5-8

Now don't cheat and use just your index and ring finger, keep your hand still and use index, ring, middle, pinky combos

This kind of stretching and practice is the only way to be fluid. Also don't forget, if you're not completely familiar with where every note is, or at least well on your way, you're holding yourself back.

CLASS DISMISSED!! PRACTICE PRACTICE PRACTICE

Josh Blagg · #2 04-19-2001, 07:47 PM

You left out the whole purpose of the harmonic minor scale. *The seventh note is sharp so that the "V" chord is major and has a stronger resolution to the root. *This is where the scale came from.

jem7vwh · #3 04-19-2001, 10:45 PM

ok, thanks

*My whole purpose was just to lay out the scale, but I appreciate the knowledge shared. *Thanks

Josh Blagg · #4 04-20-2001, 01:13 AM

In the case of harmonic minor, it's original intent was to create a major harmony on the V chord and provide a stronger resolution, especially where the # third of the V chord resolves to the root note of the tonic. *But like you said, it does have strange melodic implications and can very well be used over a progression from the natural minor. *I advise trying it over a minor chord progression that uses the major V chord, and then try it out over one that uses the minor v chord.

Devine · #5 04-21-2001, 04:18 PM

Hi guys-

"Minor" as a concept is classically described as a mode with three different scale forms: natural, harmonic and melodic. *Before developing chordal music, vocal music dictated "graceful" step-wise motion. *Culturally, this had a lot to do with the Catholic Church's influence during medieval times. *Anyway, harmonic minor provides a half-step to-tonic approach, similar to major scales, thus accomodating singers. *Unfortunately, the minor third between the six and seventh scales degrees was an "unholy" leap, hence melodic minor's introduction. *

Tonal harmony employing chords as we now know them, was not developed until around the Renaissance; then Bach popularized and organized the theory with counterpoint. *Read "Well-tempered Klavier" for more. *Josh is right: it's the major harmony produced by a M3/m3 chord; more importantly, however, is the dominant seven chord that hits home for resolution in a harmonic or melodic minor scale. *

-Devin

Josh Blagg · #6 04-21-2001, 11:59 PM

That last bit was the whole point I was trying make. *You summed it up well. *Isn't it interesting how just the unison, perfect fourth, perfect fifth, and octave were considered *holy* intervals and everything else was held out for a long time? *To me, it made for some very boring arrangements, especially listening to that stuff in theory class for hours on end. *I am glad the Bible does not say "The tritone is the musical of Hell." *Then I would be the devil.

Devine · #7 04-22-2001, 08:58 PM

Josh-

Actually, P4's, 2's and 7's were considered dissonances; 3,5,6 and 8 were consonant. *I agree, though. *Most stuff up thru Beethoven, save for a few of his and Mozart's compositions, put me right to sleep. *Everything sounds so pretentious to my ear. *Romantic composers, Schumann, Chopin and Prokofiev - they do it for me. *Lots of dissonance and atonality, but not so much that it turns into a harpie-like wail.

-Devin

Josh Blagg · #8 04-23-2001, 01:00 AM

Actually, my theory book in high school said 4th's, 5th's, unisons and octaves were originally the only intervals allowed by the church for some time. *I recall doing the exercise. *I'm not arguing that 4th's weren't considered dissonant, but I think they were more importantly considered "pure" or whatever lame line of reasoning they came up with.

dwswift · #9 04-23-2001, 02:06 AM

well what the hay... I'll argue

It is my understanding that P4's were not considered dissonant by the church. *The cadance IV-I (an interval of a perfect fourth) is considred the "plagal" or "church" cadence. *I find it far fetched to think this was ever considered dissonant, but it certainly wouldn't be the first time I was wrong. *

Besides that, an inversion of a P5 is a P4. *If one is dissonant, surely the other must be as well. *That's it no P5's anymore either! *That leaves what... thirds and octaves? :biggrin:

Perhaps this is a case of mistaken identity and the author ment to say augmented 4ths were considered dissonant?

Josh Blagg · #10 04-23-2001, 05:13 PM

Yeah, I was tending to think that since it was the inversion of a perfect fifth then it couldn't be considered dissonant, but I have done no research on which intervals they thought were "dissonant," so I can't argue. *All I can say is that I am quite sure they found the perfect fourth the be "pure" and "holy." *I think their rules were ***. *Remember guys, no parallel fifths. *

jem7vwh · #11 04-23-2001, 05:39 PM

I'm sure the church doesn't have a problem with P4's, they're used in the procession song for a marriage

. *I'm surprised more bands (Korn, etc) haven't usurped the Tritone as their signature sound, it's so dissonant and "unholy"

ryan · #12 04-23-2001, 06:17 PM

Any "unholy" instances of bands using augmented 4ths (tritone...) *?

Symptom of the Universe?
Frayed ends of Sanity? *(it's not just unnerving cuz they swiped the song from the Wicked Witch's guards... it's the interval)

Those are just two that pop into mind without any prompting.