Harmonic Minor Guitar Lesson

Chapter 1: (04:30) Introduction to Harmonic Minor Lesson Overview / Objectives

In this lesson, you will learn the difference in sound and the theoretical differences between the harmonic minor scale and the harmonic minor scale. You will also learn five vertical patterns for the harmonic minor scale that can be played in any key.

Aural Comparison

Listen as Matt plays the harmonic minor and the natural minor scales in the key of A minor. How would you describe the difference in sound between these two scales?

Matt demonstrates the A natural minor scale at 01:37. He demonstrates harmonic minor soon afterward. Make sure that you can distinguish the difference in sound between these two scales. Think of a few descriptive words that capture the difference.

Theoretical Comparison

In comparison to the natural minor scale, the harmonic minor scale features a raised seventh scale degree. Compare the spelling of these scales.

A Natural Minor: A, B, C, D, E, F, G, A

A Harmonic Minor: A, B, C, D, E, F, G#, A.

Key Features of Harmonic Minor

With the harmonic minor scale, the seventh scale degree becomes a "leading tone." The leading tone is the note that is one half step below tonic. The leading tone creates a stronger resolution back up to tonic compared to the lowered seventh scale degree of the natural minor scale.

Within the harmonic minor scale, an augmented second interval occurs between the sixth and seventh scale degrees. This interval sounds the same as a minor third, but is written differently in text and in notation. It consists of three half steps. Many composers avoid this interval because of its very distinct and dissonant sound.

Note: Music theory information regarding the harmonic minor scale will soon be added to the JamPlay Scale Library. This site feature can be accessed through the "Teaching Tools" button on the left hand side of the homepage. Chapter 2: (03:38) Harmonic Minor Chord Tones Diatonic Chords in Natural Minor

i - minor
iio - diminished
III - major
iv - minor
v - minor
VI - major
VII - major

In relation to the key of A minor:

i - Am
iio - B diminished
III - C major
iv - D minor
v - E minor
VI - F major
VII - G major

Diatonic Chords in Harmonic Minor

i - minor
iio - diminished
III+ - augmented
iv - minor
V- major
VI - major
viio - diminished

In relation to the key of A minor:

i - Am
iio - B diminished
III+ - C augmented
iv - D minor
V - E major
VI - F major
viio - G#o

Make a careful note of which chords in these tonalities are different. The chords containing the leading tone are all different (III+, V major, and viio diminished).

In harmonic minor, the V chord creates a major stronger return to tonic because of the inclusion of the leading tone. It resolves up one half step. The sound of the harmonic minor tonality is largely characterized by this V to i dominant to tonic relationship. Chapter 3: (05:53) Harmonic Minor Scale Patterns Note: Tablature to all scale patterns with proper left hand fingerings can be found under the "Supplemental Content" tab.

Every diatonic scale can be played across the entire length of the fretboard in any key by learning five simple vertical patterns.

Note: The vertical patterns that Matt teaches are not the only vertical patterns for the harmonic minor scale. The five patterns that he teaches are the most popular and most commonly used.

Guidelines for Practicing Scales

1. Listen to Matt play the scale several times before practicing it. Imitate the sound of his performance. You must play scales musically. Practice them as though you are practicing a melody from a piece of music. You must be able to play the scale in time with a metronome.

2. Do not deviate from the fingering that Matt demonstrates when practicing the scale. When improvising, use the fingering that best acommodates your improvised lines.

3. Remember to start on the lowest root note in the position when playing through any scale. This A note is located at the 5th fret of the sixth string. Then, ascend to the highest note in the position. This note is A at the 5th fret of the first string. Finally, descend the scale back down to the lowest root note in the pattern.

4. Observe all guidelines of proper technique.

Left Hand Guidelines

A. Preparing the Left Arm

-In order for the left hand to be positioned correctly, the entire body (especially the shoulders) must be positioned correctly. Remember to keep the spine straight and the shoulders relaxed!

-Keep the left hand in a natural, relaxed position at all times. Do not squeeze the neck!

B. Thumb Placement

-Keep the thumb perpendicular to the neck. Do not curl the thumb or bring it up over the top of the neck. Also, Do not turn the thumb so that it runs parallel to the back of the neck. This greatly limits the range of motion of each finger.

-The thumb should rest on the neck directly behind fingers one and two.

-The thumb may move up and down slightly in order to accommodate various left hand positions.

C. Palm Placement

-Keep the left hand palm parallel to the bottom of the neck. Do not allow the palm to make contact with the bottom of the neck. This technique will allow each of the fingers to access all six strings without moving the entire hand. Economy of movement is one of the most important components of proper technique. Wasted movement limits speed, endurance, and accuracy.

D. Finger Placement

When fretting any note, always follow the guidelines listed below.

-Fret the strings with the very tips of the fingers. Arching the wrist outwards will help accomplish this goal. Utilizing this technique will prevent you from bumping any of the adjacent strings. Making contact with adjacent strings will prevent them from ringing clearly.

-Position the finger as close to the fretwire as possible without being directly over top of it. The least amount of pressure is required to push the string down in this position.

-Keep all left hand joints slightly bent. Do not flatten any of the knuckles.

-Keep the left hand fingernails as short as possible.

-Keep the wrist slightly bent.

-Keep the fingers as close to the fretboard as possible at all times. This will ensure that each finger is prepared to play when called upon.

-When performing finger stretches, make the stretch with the appropriate finger only. Do not alter the position of the thumb. Refer to Dennis Hodges' fifth Phase 2 Metal lesson for some good finger flexibility exercises.

Right Hand Guidelines

-Almost all guitarists generate the picking motion completely from the wrist muscles. The forearm only gives involved when two or more strings are strummed simultaneously.

-Almost all guitarists that are trained in the classical and jazz fields argue that it is never appropriate to anchor any of the fingers not holding the pick on the body of the guitar regardless of what genre you play. Rather, these fingers should be lightly tucked into the palm. They should remain relaxed as possible. Do not clench them into a fist.

5. Memorize the pattern. Make sure you can play it with your eyes closed.

Pattern 1

A. Position

The first pattern that Matt demonstrates is played in second position when played in the key of A minor. Contrary to popular notion, position is defined by where the second finger plays, not by where the first finger plays. To determine the fretboard position of a musical excerpt, subtract one fret from the location where the second finger plays. The second finger is used to determine position since it never must perform a finger stretch to reach out of position notes. The first finger frequently must stretch backwards to fret notes. For example, in the second position A harmonic minor scale, the first finger must stretch back to play the F notes located at the first fret.

B. Position Shifts

Matt prefers to add a position shift into the pattern. This shift is not absolutely necessary. A second fingering option is also demonstrated in the lesson video. Use the fingering that works best for you. Chapter 4: (03:30) Scale Patterns The pattern taught in this scene is played in fifth position within the key of Am.

This pattern can be quite difficult due to the finger stretches that occur on the fourth and first strings. Many guitarists prefer to eliminate these stretches by adding position shifts. For example, the B note played at the 9th fret of the fourth string can also be played at the 4th fret of the third string. Matt demonstrates this position shift at 00:57 in the lesson video.The G# note at the 9th fret of the second string can also be played at the 4th fret of the first string.

How do I know when to move on to a new pattern?

At first, work on one pattern at a time. After you have memorized the pattern and can play it in time with a metronome, work on the following exercises:

1. Apply the interval exercises from lesson 15 to the harmonic minor scales,

2. Apply the rhythm exercises presented in the Phase 2 Reading Music and Rhythm series to the harmonic minor scale.

3. Begin improvising and developing some basic licks within the pattern.

Work through these exercises for about a week to a week and a half before you move on to the next pattern. Do not neglect the first pattern once you have moved on to the second pattern! Chapter 5: (01:49) 7th Position Scale Pattern Within this pattern, a finger stretch must be played on the fifth string. The pinky stretches up to the 11th fret to fret the G# note. Also, notice how there are only two notes played on the second string within this pattern. Chapter 6: (02:40) Scale Patterns This pattern is played in ninth position in the key of A minor. In this position, the first finger must stretch back to fret several notes at the 8th fret. It must stretch back to reach C on the sixth string and F on the fifth string. The position shift can be eliminated by playing the note C on the first string instead of the second string. However, the position shift is most conducive to playing fast lines.

Also, the notes on the second string can be fingered two different ways when using the position shift. Matt demonstrates these options at 01:30. When ascending, Matt prefers to shift up with his pinky. When descending, he prefers to shift down with the first finger. Chapter 7: (12:13) Final Scale Pattern The final pattern is played in 12th position within the key of Am. Finger stretches are performed on the 1st and 6th strings to reach the G# notes at the 16th fret. Notice how only two notes are played on the third string.

Upper Octaves

As you continue to move up the fretboard, all of the patterns taught in previous scenes simply repeat one octave higher.

Final Thoughts

A. Essential Listening

Listen to recordings of harmonic minor solos for some ideas and inspiration. The following rock hits are an excellent place to start: "Wherever I May Roam," "Sails of Charon," "Evil Eye," and "Sweet Child O' Mine." If you like any of the licks from these solos, try to learn them and incorporate them into your lead guitar vocabulary.

B. Connecting Patterns

Once you have the patterns memorized, begin to connect the patterns with position shifts within your improvised licks. In the next lesson, you will practice improvising over some basic progressions that are diatonic to the harmonic minor tonality.

C. Different Keys

Practice all of the ideas from this lesson in a variety of minor keys. Start with the most common keys on the circle of fifths wheel (the fewest number of sharps and flats in the key signature.)

Note: The circle of fifths wheel can be found under the "Supplemental Content" tab.

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