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
