SOLOING With The Harmonic Minor Scale by Joe Willis

INTRODUCTION This series of books are for the student who desires to become a creative musician through the study of improvisation. Each book deals with a specific scale, or a specific chord progression. Scale application is at the heart of improvisation.

There are countless guitar players who only know one scale, the minor pentatonic. Every solo they play has the same sound. This of course will result when only one scale is used to the total exclusion of all others. Each scale creates its own unique tonality or colour. Application of all scales is vital to the art of improvisation, and it is that which defines a creative musician.

This series of books teaches you several fingerings of each scale, and how to link them, so that when soloing you're able to move seamlessly from one position to the next. The most important and least understood aspect covered by these books is the application of the scales. This entails knowing over which chords the scales can be used.

This particular text deals with the harmonic minor scale. Along with exercises to develop the scale, there are licks which you can insert into your own solos. There's an in depth discussion of the scales application to the blues, and the major and minor key II - V - I. There are several solos which demonstrate use of the scale. Most exercises along with all solos are on CD with backing tracks for you to play along to. Tab is supplied along with music notation.

TUNING NOTES To be sure that you're in tune with the backing tracks, tune your guitar to the guitar tuning on track one.

This text was written by Joe Willis, a professional session guitarist of many years experience at the cutting edge of the music business. He has played and worked with many of the biggest names in the world of music including, Tom Jones, Ray Charles, Cilla Black, Lulu, Dusty Springfield, Rick Wakeman, Englebert Humperdink, The Everly Bros, Irene Cara, and jazz icons, Kurt Edelhagen, Jan Luc Ponty, Attila Zoller, Dave Brubeck, Stan Getz, Art Farmer, Michel Colombier to name just a few.

CONTENTS

Page

Audio Track

Introduction and tuning notes........................................................................................ 2 1 Chapter 1 Construction.........................................................................................................6 Examples 1.1 1.2....................................................................................6 Examples 1.3 through 1.6........................................................................7 Secondary Dominant Chords..........................................................................8 Secondary dominant definition................................................................8 Example 1.7..............................................................................................8 Examples 1.8 1.9....................................................................................9 Example 1.10...........................................................................................10 Soloing over secondary dominants.........................................................10 Example 1.11. ............................................................................................11..............2 Secondary dominant sevenths (all keys)..................................................12

Chapter Harmonic Minor Scale Forms........................................................................13 2 Forms 1 and 2..........................................................................................13 Forms 3 through 5....................................................................................14 Examples 2.1 through 2.3........................................................................15 Example 2.4.............................................................................................16...............3 Harmonic Minor Over Cycle Four...............................................................17 Example 2.5.............................................................................................17................4 Horizontal Scale Forms....................................................................................20 A and D harmonic Scales.........................................................................20

Chapter Scale Sequences....................................................................................................21 3 Examples 3.1 through 3.2.........................................................................21...............5 Example 3.3.............................................................................................22...............5 Example 3.4............................................................................................23...............5 Example 3.5............................................................................................23...............6 Examples 3.6 3.7....................................................................................24...............6 Diatonic Seventh Chords.................................................................................25 Examples 3.8 3.9....................................................................................256 ...............7 Harmonic Minor Modes..................................................................................26 Examples 3.10 3.11.................................................................................26 Practising harmonic minor modes...........................................................27 Harmonic Minor Modes Over Minor II - V - I........................................28 Example 3.12..........................................................................................28...............8

Chapter 4

Page

Audio Track

Arpeggio Application Examples 4.1 4.2..................................................................................32..............9 Examples 4.3 through 4.6......................................................................33..............9 Harmonic Solo...................................................................................................34..............10 Harmonic solo analysis..........................................................................39

Chapter 5

Harmonic Minor Over Diatonic Chords..................................................40 Im(maj7)................................................................................................40 Example 5.1...........................................................................................40...............11 bIIIMaj7..................................................................................................41 Example 5.2..........................................................................................41..............12 IVm7......................................................................................................42 Example 5.3..........................................................................................43..............13 bVIMaj7.................................................................................................43 Example 5.4...........................................................................................44..............14 VIIdim7..................................................................................................45 Example 5.5...........................................................................................45..............15

Coda.......................................................................................................................47

========================================== Also in this series Soloing With The Major And Natural Minor Scales Soloing With The Pentatonic Scale Soloing With The Harmonic Minor Scale Soloing With The Melodic Minor Scale Soloing With The Diminished And Whole Tone Scales Soloing With Arpeggios Soloing Over The Major And Minor II - V - I The Blues From Basic To Advanced Modern Chord Progression And Rhythm Changes

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CHAPTER ONE

CONSTRUCTION

Generally speaking, there are two tonalities in music: major and minor. Compositions based in major keys draw from the major system (key) for their harmony / chords and melody. Compositions based in minor keys draw from the natural minor system. The difference between the major and natural minor scale is clearly defined when both scales, complete with their diatonic seventh chords are constructed on the same tonic, as in the following examples. Different scales constructed upon the same tonic are termed parallel, i.e. G major, G natural minor, G melodic minor and G harmonic minor scales are all parallel since they all have the same G tonic . C major Ex1.1

Parallel C natural minor Ex1.2

As well as producing different chords, the natural minor has a new set of Roman numerals which are obviously different from those of the parallel major. Remember, the only time the major and natural minor systems contain the same notes and diatonic chords is when the natural minor is the relative of the major. C natural minor is relative to E b major and will produce the same set of diatonic chords, only on different degrees of the scale. As with all scales, harmonic minor scale has its own unique intervalic definition. When comparing harmonic and natural minor scales, it will be seen that the seventh degree of harmonic minor is a leading tone seventh ( n 7) like its parallel major, unlike natural minor. A leading tone seventh is when the seventh scale degree is a semitone below the tonic. Raising the seventh degree also creates an interval of a minor third between the sixth and seventh degrees. So, to construct the harmonic minor scale simply sharpen the seventh of the natural minor scale. See Ex1.4.

Chapter One A natural minor Ex1.3

Parallel harmonic minor Ex1.4

If minor key compositions draw on the recource of the natural minor system, why then was the harmonic minor created in the first place, good question !!. In answer to this, one must first realise that the most important chords within the major and minor systems are those that create cadences. The chord on the fifth degree of the natural minor is a minor seventh chord . When used in a V - I minor key cadence Vm7 doesn't have the same strength or finality of resolution onto the one chord as the dominant seventh (V7) when resolving onto the one chord in the major system. It can be safely assumed that the harmonic minor scale was created to resolve the cadence problem of the natural minor. The cure was to simply raise the seventh degree of the natural minor by a semitone. This creates a leading tone seventh which in turn creates a dominant seventh (V7) on the fifth degree, which provides the desired V7 - Im resolution. Harmonic minor produces a different set of diatonic chords to those of its parallel natural minor. Compare the two scales. A natural minor Ex1.5

A harmonic minor Ex1.6

SECONDARY DOMINANT CHORDS

Chapter One

In order to proceed with application of the scale, a discussion regarding secondary dominant seventh chords is mandatory. Before starting work with secondary dominants, let us first discuss a couple of points regarding the diatonic chords of the major key. First of all, it is important that you understand that each degree of the scale and the diatonic chord constructed upon it is related to the tonic. This relationship exists because each scale degree is caculated from the tonic. For example, the fifth degree is V of I since it is calculated from I. The seventh scale degree is VII of I etc. Since the diatonic chords are constructed upon the scale degrees will mean that they are also related to the tonic. As we have seen, the major seventh and minor seventh structures contained in the major key exist on more than one scale degree. Major sevenths occur on I and IV, minor sevenths on II, III and VI. The dominant seventh however, occurs once only, on the fifth degree, and is referred to as the primary dominant. Dominant seventh chords which are non-diatonic to the major key can also operate within the key, these are referred to as secondary dominants.

SECONDARY DOMINANT DEFINITION A dominant seventh must meet the following criteria in order to qualify as a secondary dominant seventh. 1) the root of a secondary dominant must be diatonic to the key in which it operates. 2) when a secondary dominant resolves up a fourth (or down a fifth) its resolution must be to a diatonic chord of the key. Five secondary dominants can operate within the major key. They are based on the first, second, third, sixth and seventh degrees of the major scale. In the key of C, the following dominant seventh chords meet the required criteria, and are therefore defined as the secondary dominants of C major. Ex1.7

Key: C major Major scale degrees

C major scale

Secondary dominants

Each secondary dominant is the V7 of the scale degree to which it resolves, i.e. C7 resolves up a fourth to F on the fourth degree and is referred to as V7 of IV. D7 resolves up a fourth to G on the fifth degree and is referred to as V7 of V. E7 resolves up a fourth to A on the sixth degree resulting in V7 of VI. A7 resolves up a fourth to D on the second degree resulting in V7 of II. B7 resolves up a fourth to E on the third degree resulting in V7 of III.

Secondary dominants cont'd

Chapter One

You will have noticed that there is no secondary dominant on the fourth degree. The reason being is that a dominant seventh on the fourth degree (F7) would resolve up a fourth to B b which is nondiatonic to the key of C major. Secondary dominant definition stipulates that a secondary dominant must resolve up a fourth onto a diatonic chord of the key. See Ex1.8. The dominant seventh on the fifth degree (G7) is the primary dominant of the key and therefore is not a secondary dominant. Key: C major

Ex1.8 Diatonic seventh IMaj7 chords CMaj7 Related secondary (G7) dominants V7 of I

IIm7 Dm7

IIIm7 Em7

IVMaj7 FMaj7

A7 B7 V7 of II V7 of III

C7 V7 of IV

V7 G7

VIm7 Am7

D7 E7 V7 of V V7 of VI

VIIm7 b5 Bm7 b5 none

You will note when playing through Ex1.9 that the secondary dominant tends to create a feeling of forward motion toward its related diatonic chord. Arrows are used to indicate dominant resolution. Resolution occurs when the root of the dominant moves up a fourth (or down a fifth) to the root of the following chord. Key: C major

The melody line and chord progression of countless tunes move out of the written key into other keys. This can occur several times during the course of a composition. Keys other than the written key are referred to as temporary keys since they usually move to another key after just a few bars. Since these keys are only temporary, it's deemed unnecessary having to write a new key signature every time a temporary key occurs, as this could result in a key change every few bars, making it difficult to remember which key you're in. The usual practice when a temporary key occur is to place an accidental (flat or sharp symbol) before the relevant note/s rather than writing a new key signature. When a change of key occurs at the bridge (middle) section of a composition a new key signature is usually written since the bridge is a different section in the song form, in most cases eight bars long. 9

Chapter One

Secondary dominants cont'd

When operating within the diatonic system of the major key, a secondary dominant has the effect of creating a temporary key a perfect fourth above the root of the secondary dominant. The temporary key is either major or minor depending on the type of diatonic triad the secondary dominant resolves to. For example, B7 in the key of C major is secondary dominant V7 of III and creates a temporary key of E minor, because E is diatonically minor in the key of C. D7 in the key of C is secondary dominant V7 of V and creates a temporary key of G major, because the triadic quality of the V chord (G7) is diatonically major in the key of C. Key: C major Ex1.10 Diatonic seventh

IMaj7

IIm7

IIIm7

IVMaj7

VIm7

Related secondary dominant

(G7)

(Cmaj)

Fmaj

Gmaj

Temporary key

VIIm7 b5

SOLOING OVER SECONDARY DOMINANTS When improvising over secondary dominants the soloist plays in the temporary key created by the secondary dominant. This is to say, when improvising over secondary dominants which create major temporary keys, the relevant major scale is used. For example, if when soloing in the key of C major you encounter a C7, use F major scale for the duration of the C7. When improvising over D7 while in the key of C major use G major scale for the duration of the D7.

When improvising over secondary dominants which create minor temporary keys the relevant harmonic minor scale is used. For example, when improvising over A7 while in the key of C major, D harmonic minor scale is used for the duration of A7. When improvising over B7 while in the key of C major, E harmonic minor scale is used for the duration of B7. When improvising over E7 while in the key of C major, A harmonic minor scale is used for the duration of E7. As stated, the scale for the secondary dominant is used only for the duration of the secondary dominant. Once the secondary dominant resolves to its related diatonic chord, revert back to the parent major scale. For example, when improvising over C7 resolving to Fmaj7 while in the key of C, use F major scale over C7 and C major scale over Fmaj7. It should be understood that improvising in the temporary key established by the secondary dominant will still apply whether the secondary dominant resolves to its related diatonic chord or not, i.e. in the key of C, E harmonic minor will still be used over B7 whether B7 resolves to Em or not.

Ex1.11 is a simple yet very common chord progression employing secondary dominant sevenths relative to the key of C major.

Secondary dominants cont'd

Chapter One

Ex1.11

track 2

You will note that each temporary key is indicated above the relevant bars. Roman numeral analysis indicates the type of chord and its location within the key. From a practise point of view, play the progression several times through along with the backing track, each time in a different location using alternative chord inversions. Once this is achieved, then try the same in several keys. The term "transpose" means to take a piece of music and play or write it in another key. When transposing Ex1.11 to the key of F major, each chord is transposed up a perfect fourth since F is a fourth above C. To play the progression in the key of A b will require a transposition of a minor sixth up from C to A b. Being able to transpose at sight comes with experience, for now I suggest that you write out each transposition. Although playing the progression as detailed above is necessary from a practical point of view, the main objective is that you're able to recognise the function and location of each chord in relation to the key. Be able to identify secondary dominants and their related diatonic chords. Be able to recognise V7 - I, IIm7 - V7 and IIm7 - V7 - I patterns and how they function within the progression. They could be functioning as diatonic chords of the written key or, as chords diatonic to a temporary key as in bar eight in the above progression. It is vital that you are able to recognise these harmonic relationships in any composition without the harmonic analysis being supplied. See the complete list of related secondary dominants on page 11. 11

Secondary dominants cont'd

Chapter One

SECONDARY DOMINANT SEVENTHS (ALL KEYS)

CHAPTER TWO

HARMONIC MINOR SCALE FORMS

As stated, when soloing in a major key harmonic minor can be used over secondary dominants V7 of II, V7 of III and V7 of VI. When secondary dominants resolve to their related diatonic chord: IIm7, IIIm7 and VIm7, the soloist will revert back to the parent major scale. This is to say that harmonic minor is used only for the duration of the secondary dominant. When soloing in a minor key use the natural minor scale over the diatonic chords except when V7 occurs, the parallel harmonic minor is used for the duration of V7. When V7 resolves, revert back to natural minor. This is the most common procedure, however, harmonic minor can be used over IIm7 b5. So, besides being used over its own diatonic chords, harmonic minor can be used over dominant seventh chords that resolve up a fourth to minor chords, and over the V or II - V of the minor key cadence. Now that you have an understanding of the construction, harmonisation and application of the scale, all you need now is to be able to play it. Following are five forms of A harmonic minor. Because of its intervalic definition the scale is not really practical in seven forms. FORM ONE A HARMONIC MINOR

FORM TWO A HARMONIC MINOR