Harmonic Minor Modes
In this final instalment of our series on the modes of the Harmonic Minor scale, we consider the scale known as the Super Locrian bb7. This is a very distinctive and dissonant scale, and is difficult to use in standard jazz and rock contexts; it makes us work hard if we're going to get something usable out of it.
In previous posts we've looked at three of the less well-known modes of the harmonic Minor scale. We'll now move on to more dissonant material than we've seem previously with the Locrian Natural 6. It's a rarely-heard sound, although unlike the other scales in this group it's actually more consonant than its relative in the major scale group.
In the Encyclopoedia I advocate experimenting with the arpeggios that common scales contain as a way of both understanding the scale better and making your playing more interesting. Here we look at the two symmetrical arpeggios that are embedded in the common Harmonic Minor scale.
We've been examining the modes of the Harmonic Minor scale over the past few days, and we've come to the Augmented scale, which is just the same as the Major scale but with a sharpened fifth. It doesn't sound too exciting at first, but we'll look at some of the arpeggios it contains that can yield some interesting results.
We've started working on the Harmonic Minor modes, and today we'll take a look at the Lydian #2. The main application for this scale is over a major seventh type of chord. Assuming you know your Major scale modes then you already have two ways to play over this type of harmony: the Major itself and the Lydian. Neither of these, though, is all that exciting.
A lot of guitarists know the Harmonic Minor scale and one of its modes,the Phrygian Major. Yet this scale, like the major scale, has seven modes in its group and the others are less frequently talked-about. We'll run a post on each of them over the next few weeks, starting with the Dorian #4.