This lesson is about the 7 harmonic minor modes.
The modes are great jazz scales and they have a really nice exotic flavor.
Now try to listen to this little jazz solo…
Right now we improvise over the Ionian#5 scale
one of the 7 harmonic minor modes.
In this lesson we'll learn them all.
And I'll introduce a very smart cardboard tool to look up the 7 modes in any key.
Finally I'll show you some very easy and practical techniques
on how to improvise when using the modes.
So in the start we do some revealing theory and by the end we play Music.
My name is Oliver Prehn by the way, and this is a NewJazz lesson.
Ok, here we have the harmonic minor scale in C
Look, it's almost like a natural minor scale
we just sharpen the 7th step
So now we have this exotic augmented second interval.
The scale is named HARMONIC minor because
we can play this harmonic progression;
dominant 7 to tonic without leaving the scale.
We can also refer to this scale as Aeolian#7
The Aeolian scale is equal to the natural minor scale
and if we sharpen the 7th step
well, then we got the Aeolian#7 scale, right?
This scale pattern comes in 7 variants, or 7 degrees,
because we can make any of the 7 single notes
inside the harmonic minor scale to a new keynote.
So, right now C is the keynote.
But what if for example the next note in the scale is the keynote, the d-note?
Then we got a completely different sound, a different scale.
It's the same keys as before, but we have changed the keynote, right?
This scale is called Locrian#6
And why this name?
We'll, let's find out.
So let's look into the characteristics of this scale;
it's a minor scale
because we have the minor third step compared to the keynote D, right?
So, let's start by playing the D natural minor scale.
So what differs when we compare this well known natural minor scale
with the Locrian#6 scale?
Well, firstly, we have a minor second step instead of the Major second step.
This minor scale with a lowered second step is referred to as the Phrygian scale.
Secondly we also have to diminish the fifth
and we got the Locrian scale.
If you don't know these scales, don't worry, you don't have to know all the theory.
Later on in this lesson I'll give you some easy tools to look up the scales
and some practical ideas on how to improvise over the scales
so that will be much easier.
For now just watch and listen how we gradually change the sound of a scale
by flattening and sharpening the steps.
Ok, so here we have the Locrian scale.
So what to do now?
Well, we just need to sharpen the 6th step and we got our scale; Locrian#6
It's always a good thing to compare the scale in hand with the nearby scales
in that way we learn a great deal about the characteristics
and the sound of our scales.
So we went from the natural minor scale
and then we added the Phrygian quality
and then we added the Locrian quality
and then we made the scale unique and exotic by raising the 6th step
the Locrian#6
So try to play D in the bass.
I just love to play around and explore a specific scale.
This is truly a wonderful exotic scale, right?
Try to sing along.
In this way you will also exercise your ear.
So when to use the Locrian#6 scale?
Well, if we build up the tonic chord from the keynote D
we got this Dmi b5 7 chord.
So if we stumble upon a mi7 b5 chord
we might just use the Locrian#6 as our improvisation material.
Now listen, the Locrian#6 really makes
the mi7b5 chord interesting and exotic, right?
Ok, so far we have learned two scales; the C harmonic minor
and the D Locrian#6, right?
We use the same keys but with different starting points, different keynotes.
So the scales have completely different qualities.
Now, if we move the starting point to the next step, the next degree, the eb-note,
we have a brand new scale in our hand.
It was this scale I used in the start of the video
when improvising together with the drum & bass backing track.
This scale is almost like the well known Major scale.
Here we got the Eb Major scale also named Eb Ionian.
Can you see what we just need to do to?
We just need to augment the fifth step and we got our scale;
the Major#5 or Ionian#5 scale.
So it's not a traditional Major scale anymore like this.
Now it's like this.
By raising the 5th step we have added something exotic to the Major scale, right?
The augmented second interval.
Play the eb-note in the bass and try this out.
The Ionian#5 scale is just so nice and exotic I think.
Maybe we should name it "exotic" Major.
So on what type of chord can we play this scale?
Well, let's build up the Ionian#5 tonic chord from the Eb root.
So, here we got the Ma7 #5 chord.
A really nice jazzy chord
and by using our Ionian#5 scale as our improvisation material
we really add a nice exotic sound to the chord I think.
So, if we stumble upon a Ma7 #5 chord we may just consider to use this Ionian#5
Listen to all these nice super clashing dissonances
that some call avoid notes
I just love them
and please don't avoid these notes
embrace them
then we can hear the true quality of the Ionian#5 scale.
Ok, let's shortly summarize.
Here we have our C harmonic minor scale or Aeolian#7
and here we have the D-Locrian#6 right?
Same keys, but different keynote and starting point.
And with Eb flat as keynote we got the Ionian#5 scale.
Next scale; I guess you already know what we are going to do, yes?
Now we move up the scale another step and F is our new keynote.
Same keys as always, but different starting point.
So what do we have here?
Well, this is a kind of minor scale
because we have the minor third interval compared to the keynote F, right?
So let's compare this scale with the F natural minor scale.
Well, then we must sharpen the 6th step and we got this sound.
The Dorian scale actually.
A very much used scale when improvising Jazz.
But we are not done yet.
We must also augment the 4th step, right?
And we got this exotic Dorian#4 scale.
Let's play F in the Bass and try this out.
So this scale is almost like the Dorian scale
we have just augmented the 4th step.
So we have just changed Dorian into something
rather unique and special, listen...
Exotic Dorian with its augmented second interval…
So on what chord can we play the Dorian#4?
Well if we use the scale to build up a chord from the root
we got this Fmi7 chord.
And listen what happens when we add the scale to this chord…
a very exotic 4th step that is added to the mi7 chord, right?
Remember to play around and explore each scale.
In this way you will be familiar with the scales.
And it's really fun work.
Again embrace the dissonances…
If you are a Music composer you can surely pick up many ideas
by playing around with these harmonic minor modes...
Ok, next scale;
Now the g-note is the starting point.
So what do we have here?
Well, it's a Major scale, right?
But anyway the scale looks more like the G natural minor scale
with its flat 6th and 7th step.
If we lower the second step we got the G Phrygian scale…
and if we then raise the third step we got the Phrygian#3 scale.
Let's play G in the Bass...
This is a scale that in many ways is dark and minor like
but then it surprises with its Major third step.
I really like this conflicting contrary property of the scale.
Minor quality
Major quality.
Some refer to this scale as a Phrygian Major
because of the Major flavor that has been added the Phrygian scale.
So on what type of chord can we use this scale?
Let's build up the Phrygian Major chord from the G-note
and we got the G7 chord.
So if we wanna play a solo over a 7 chord
we just might spice up the chord by using the Phrygian Major scale.
By the way, this scale is also referred to as a Phrygian dominant scale
because the scale has a dominant quality
with its Major third step and the minor 7th step.
Again nice dissonances…
we can resolve them if it's all too much…
suspension…
resolve…
Ok, let's summarize.
Here we have our C harmonic minor scale, Aeolian#7
and when D is the keynote we have the D-Locrian#6
and then the Eb-Ionian#5
F-Dorian#4
and with the G as keynote we got the Phrygian Major scale, Phrygian#3
We use the same keys but we have different keynotes
different starting points.
So, all these scales are just different degrees of each other.
Let's move on.
If Ab is the keynote we got this thrilling scale…
Let's compare this scale with the well known Major scale…
So, we need to augment the 4th step and we got the Ab-Lydian scale
this scale has a very bright sound, right?
So our scale is almost like the Lydian scale
we just need to augment the second step and we got the Lydian#2 scale.
Let's make the Lydian#2 chord;
here… the Ma7 chord…
And let's put the Lydian#2 on top to make things spicy and exotic…
Again we have a lot of sharp dissonances
that really mess everything up I think...
and isn't that just wonderful.
For example we have this augmented second step.
It makes a nice clash against the major third note in the Ab Ma7 chord.
The augmented second step could also be
enharmonic interpreted as a minor third step.
So with that interpretation the scale contains both
the minor and the Major quality.
Wow right?
What a nice clash...
Very soon I will show you a great tool
so you can easily look up any of the 7 harmonic minor modes in all 12 keys.
And after that I will give you some practical tricks
on how to improvise a solo when using these scales.
But before that, we just need to explore one last scale.
So, let's move the keynote to the b-note
and we got this scale called altered dominant bb7
because it's just like the altered dominant scale
but with a minor 7 step that is flattened once more.
An altered altered scale.
If this makes no sense, never mind
because I have a much simpler and provoking method to approach this scale.
We go down a semitone and make the Bb Major scale.
Then we just lower the 7th step and we got the Bb Mixolydian scale.
Now we are gonna do something very naughty
can you figure out what that is?
We simply augment the first step
and here we have our scale.
I like to refer to this scale as a Mixolydian#1
because this is how I hear the scale;
just like a Mixolydian
but with an augmented first step.
Now, this approach may seem just a little provoking
for those who are stuck in Music traditions
because we alter the keynote itself
and you may think this is a wrong approach
you can't do that
and that's totally OK with me.
But try to hear me out on this issue.
By naming the scale Mixolydian#1
we got a beautiful and simple way to explain the scale.
No double flats and altered scales that are altered even more.
We just play the Mixolydian
and we augment the first step.
And furthermore we now have a nice ordered list of scales
as you can see above the keyboard.
All the harmonic minor modes are now compared
with their relative church modes.
Look the church modes are listed in correct order
and their sharpened steps are also listed in a perfect numerical order.
We now get the idea
the idea that the 7 harmonic minor modes
are actually closely related to the 7 church modes.
We just sharpen a single step in each church mode
and we got an exotic variation based on a harmonic minor degree.
But anyway, if you don't like the name Mixolydian#1
then just use the name altered dominant bb7
because this name is the common used name.
Nobody uses the name Mixo#1
and if you use that name in public
people will properly just think you are a crazy jerk
that doesn't know anything about Music theory.
Ok, on what chord can we use this scale?
Well, the tonic chord of this scale is the dim7 chord.
So if you stumble upon a dim7 chord you may use the Mixo#1.
Soon I will show you a very easy way
to look up all the harmonic minor modes
and then I will show you some practical tips to improvise over the modes.
Now before moving on let's shortly summarize.
Here we have our C harmonic minor scale also called Aeolian#7
This scale is like the Natural minor scale but with a raised 7th step.
If the next note in the scale is the keynote we have the D-Locrian#6 scale
and then we have the Eb-Ionian#5
F-Dorian#4
G-Phrygian#3
Ab-Lydian#2
and finally the B-Mixolydian#1
All these 7 exotic scales are closely related
and linked to the 7 church modes
as we can see on the beautiful ordered list above the keyboard.
NOW, we will move on and do things a lot easier.
I'll show you a very smart tool
to look up all the 7 harmonic minor modes in any key.
So here we got the magic tool.
I made this out of a piece of cardboard.
We got two discs that are sewed together with two shirt buttons.
In that way the two discs can rotate upon each other.
In the description below
I have pasted a link to a PDF document with the two discs.
Just print the PDF
cut out the discs
and connect them so they can spin upon each other.
Now, let's magnify and place this tool above the keyboard...
On the lower disc we have all the common names
of the harmonic minor modes.
Harmonic minor
Locrian#6
Ionian#5
Dorian#4
Phrygian Major
Lydian#2
and Altered dominant bb7
And yes I use the common names
I just don't dare otherwise.
On the upper disc we got all 12 keys;
7 white keys
and 2 plus 3 black keys.
Ok, here comes the very smart thing.
Now imagine that you want to locate for example
the C harmonic minor scale
what do we do?
Well we just locate the harmonic minor scale on the lower disc…
and then we turn the upper disc
so the c-note and the harmonic minor scale points together.
And now the C harmonic minor scale is pointed out
by all the small arrows at the other modes.
So the C harmonic minor scale contains the keys
c, d, eb, f, g, ab, and b
One more example;
now we wanna play the C Phrygian Major scale,
so we locate Phrygian Major on the lower disc…
and then we point the c-note to that scale…
oh it's already there…
And we got all the keys inside the C Phrygian Major scale:
c, db, e, f, g, ab, and bb.
This is easy and simple, right?
On the lower circle I have also written the chords that fit each scale.
So when for example we stumble upon a 7 chord
well, we can play the Phrygian Major scale.
NOW, finally, let's play Music.
How can we make thrilling improvisation
over the harmonic minor modes?
I will give you some practical tips.
Let's return to the C harmonic minor scale.
When improvising over this scale
we can of course just play the scale stepwise up and down like this…
But I think that's a little boring.
What I often like to do is to break up the scale in patterns.
So let's look for patterns inside this scale.
What about looking for the Major triad.
So can you help me?
How many Major triads can we locate inside the harmonic minor mode?
And if any, where are they located?
Well, we actually got two Major triads hidden inside our scale
look the Ab triad
and the G triad.
And they both sound really cool, don't you think?
Notice I often like to play the triads in this inversion
with the third on the top
and then I occasionally also use my pinkie to hit the fifth of the triad.
So I have this nice triad hand grip spanning over and octave.
Ok the really smart thing is
that all 7 harmonic minor modes always contain two triads
and they are always placed a half step from each other like this.
That's because each mode has the same interval pattern
the modes just have different starting points, right?
So we'll always be able to locate two triads right next to each other
no matter what harmonic minor mode we play.
So if I wanna play for example the Eb-Ionian#5 scale
we just move the starting point to the eb-note
and we still have the two triads right here.
And if we wanna play the Ionian#5 in another key for example in F
then we can locate our triads here;
the Bb
and A Major triad.
So if we wanna improvise over any of the harmonic minor modes
we can always look for the two triads right next to each other.
But how to locate and find the two triads?
Well, just look for the augmented second interval inside the scale
and we have the triads right below;
here and here, ok?
Another example:
Phrygian Major scale
in C
So we must look for the augmented second interval, right?
And just below we have the two triads;
the Db triad and the C triad.
So just look for the augmented second interval
every harmonic minor mode got one
and then you know where to place the two triads.
Now, let's turn on the drum & bass backing track and try this out.
In this track the bass plays the Eb-Ionian#5 scale
so let's turn the lower disc to Ionian#5…
and then the upper disc to the eb-note...
So here we got our improvisation material...
Now listen how boring it can sound
when we just play the scale up and down like this…
and now listen how we can make the improvisation more interesting
by using the triad pattern…
We can also mix in this little stepwise 3 finger grip to make some variation…
and look, the 3 finger grip can also be placed here...
So now I play around with the triad grip here
and here.
And the stepwise 3 finger grip here
and here.
This is a fun way to play the scale…
And with the hand grip method we break up the scale
and make new structures and patterns…
So a good thing is to look for patterns
that we can use and reuse when playing scales…
By the way, I will upload an mp3 file with the backing track only
so you can play along and rehearse the scale and the grips.
I will paste a link in the description below.
And if you feel for it you are so much welcome make a donation.
Donations help me to cut down the hours at my regular job.
In return I can make Music lessons here on the NewJazz channel.
And thank you so much to all of you who made donations.
I'm just so pleased and thankful.
And also a big thanks to everybody else.
You all support me somehow;
some gives me a like, some writes a nice message
and some just follow the NewJazz channel.
You all help me to make this real to me!!!
So a big thanks to everybody.
By the way, I have made two other circular tools
similar to the tool presented in this lesson;
one tool to look up all the church modes
and one tool to look up the melodic minor modes.
I will paste some relevant links below.
Well that's it from now, see you very soon.
Warm regards from Oliver Prehn
No comments:
Post a Comment