Steve's Spinal Column #10

THE HARMONIC MINOR SCALE

Limey Cat
This needs explanation. It doesn't have anything to do with string harmonics. The scales' name will be explained in our conclusion. Let's start by going to a pure or natural minor which is the same as an Aeolian mode or the relative minor (1 1/2 steps behind a Major scale)

"A "natural minor (relative of C Maj) = A B C D E F G
values compared to A Major scale = 1 2 b3 4 5 b6 b7

If we build triads (1-3-5) based on this scale we get:

i	ii	blll	iv	v	bVI	bVll
Ace	Bdf	Ceg	Dfa	Egb	Fac	Gbd
(Am)	(Bdim)	(CMaj)	(Dm)	(Em)	(FMaj)	(GMaj)

If we go a step further and add sevenths:

im7	ii half dim7	bIIIMaj7	ivm7	vm7	bviMaj7	bviiMaj7
Aceg	Bdfa	Cegb	Dfac	Egbd	Face	Gbdf
(Am7)	(B half dim.7)	(CMaj7)	(Dm7)	(Em7)	(FMaj7)	(GMaj7)

If we play the v chord, Em7, and resolve it naturally to the i chord Am7, it sounds okay. But if we change the V chord to E dominant 7 (EG#BD), the resolution to the Am7 sounds a lot better. This is because the new found G# is the leading tone that "leads" into the resolved A of the Am7. Try it and hear the difference. E7-Am7 should sound more natural than Em7-Am7.

The A pure minor scale then would need this new note to enable you to play the E7 (EG#BD)
New A minor scale enabling E7= A B C D E F G#

The G# allows the E chord to be E7 instead of the original Em7. The E7 sounds HARMONICALLY better resolving to the Am7. Hence the new name of the scale, "A" harmonic minor. The simple adjustment is raising the seventh of a natural (pure) minor scale a half step.

A pure minor = A B C D E F G
A harmonic minor = A B C D E F G#