Fretboard fluency
Martin Goulding brings you the second part in his series examining the Harmonic Minor scale, where he looks at its chords and all seven modes.
As we saw in last month’s lesson, the Harmonic Minor scale consists of the formula: R-2- b3- 4-5- b6- 7, and can be visualised as a Natural Minor scale with a major 7th degree, as you can see here... Natural Minor: R-2- b3- 4-5- b6-b7. Harmonic Minor: R-2- b3- 4 -5- b6- 7
This month, we’ll continue our study of this very interesting scale by taking the root, 3rd, 5th and 7th degrees from each consecutive note and arranging it as a family of diatonic 7th chords along with their respective modes. Within this family of chords, we can identify the more familiar
7b5 minor 7, dominant 7 and minor forms found within the diatonic Major and Natural Minor scale system. We can also identify the minor-major 7 and major 7#5 chord types from our recent study of the Melodic Minor scale. This leaves only one chord so far that we haven’t looked at – the diminished 7. This chord consists of a diminished triad - R- b3-b5, with an additional bb7 (double flat 7th). You may be wondering if this interval is the same as the 6th degree and you’d be right; however, as we construct diatonic 7th chords strictly in 3rds, its important to interpret this interval from the perspective of the 7th degree.
Let’s now review the three minor scales that we’ve studied in our series so far so we can compare the differences between them. Each scale is harmonised as a family of diatonic 7th chords and arranged starting from A. You’ll notice that here the Roman numerals which are used to indicate each degree of the scale are capitalised for chord types containing a major 3rd, and presented in lower case for chords containing a minor 3rd.
After arranging these chords and modes to ascend the fretboard horizontally as shape 1 forms, with the root notes moving along the sixth (lowest) string, we’ll move on to look at how we can organise all seven chords and modes within one area of the fretboard. We’ll be using strict alternate picking to execute each mode, with the associated chord providing a landmark by which we can memorise each scale shape against, as well as a reference for our ear.
NEXT MONTH Martin looks at more fretboard navigations within Harmonic Minor