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Hello guys ! In the past columns, we talked about the tetrads derived from major/natural minor scale. As it´s possible to build chords and modes with major and minor scale, it´s also possible to study the harmonic and melodic possibilities from the harmonic minor scale (that is the eolian scale with the 7m altered to 7M – the artificial sensible).
Try to observe that there are some common chords between the tetrads derived from major/minor scale and the harmonic minor scale. Also note the there are some types of chords that are not possible to find on the tetrades derived from the major scale, just like Am7M, C+7M and G#º, as we can see on the example 01, in the tone of A minor.
Note that the chord builded on the V degree is now a dominant structure, so it´s now necessary his resolution on the I degree, bringing to the minor tone the aiming for the I that it´s not possible to find if we just use the natural minor scale.
The nomenclatures of the modes derived from the harmonic minor scale is also different from those derived from natural minor, as we can see in the box below. These nomenclatures can de founded in different ways in other music methods. For example, the mixolidian 9b/13b can also be called phrygian 3M. Obviously, it´s essential to know and practice the fingerings of all those scales, in all tones of cicles of fourths and fifths.
Tetrads and scales derived from natural
minor scale and harmonic minor scale: comparison.
Natural
minor |
Eolian |
Locrian |
Ionian |
Dorian |
Phrygian |
Lidian |
Mixolidian |
Am7 |
Bm7(5b) |
C7M |
Dm7 |
Em7 |
F7M |
G7 |
Harmonic
minor |
Eolian 7M |
Locrian 6M |
Ionian 5+ |
Dorian 11+ |
Mixolidian 9b/13b |
Lidian 9+ |
Locrian 4º/7º |
Am7M |
Bm7(5b) |
C+7M |
Dm7 |
E7 |
F7M |
G#º |
As an exercise, it´s very important to build the tetrads derived from harmonic minor scale in all possible tones of the circle of fourths and fifths. This way, certainly will be more easy for you to recognize these types of chords and scales when they appear. In most part of the times, some of these scales are not used in the way that we are showing in this examples, because it´s not caractheristic of tonal music. Some of these chords are more used as passing chords. We also should remember that there is not just one option for any scale/arpeggio or chords. A song can have a lot of different harmonizing and improvising possibilities. But, to understand the real use of some of this elements, we will need some subjects that we will talk in the next columns, just like harmonic functions, avoid notes, and others.
Next month, we will talk about the tetrads and modes derived from melodic minor scale (jazz minor). Doubts? Comments? Sugestions? Send na e-mmail to: ivan@venegasmusic.com ! Hugs !
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