Modes of the Harmonic Minor Scale and Their Application

The Harmonic Minor Scale, along with its seven related modes, is a unique sound that has worked its way into the common vocabulary of jazz guitarists the world over. From Bebopers to contemporary players, this scale is a must-know tool for any jazz guitarist. But, as a teacher, I often get questions about this harmonically and melodically interesting collection of notes, usually ranging from “How do I finger these modes on the guitar” to “Where can I use these modes in my solos?”

In response to these questions, I’ve put together a break down of each of the modes of the Harmonic Minor Scale for you to enjoy and study, hopefully adding some fuel to your woodshedding and inspiring you to explore this very interesting sound in your soloing, composing and arranging.

Let’s take a look at each mode, its construction and how we can apply that mode to our playing.

Harmonic Minor Modes Fingering Video Lesson

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Aeolian #7

This is the “parent” mode of the Harmonic Minor scale, named so because it starts on the first degree of the scale and all other modes are derived from its 7 notes. It is so named because it is very closely related to the Aeolian Mode, except that the 7th note has been raised, explaining its name.

The mode is built with the following interval structure:

R – M2 – m3 – P4 – P5 – m6 – M7 – R

or in the key of C, these notes would be:

C – D – Eb – F – G – Ab – B – C

Check out my page on the Aeolian #7 Scale to learn how to finger this mode on the guitar.

This scale is a very unique sound in the minor family, due to the Augmented 2nd interval between the 6th and 7th notes, which provides a nice stretch on the guitar in certain fingerings.

Though it sounds different than its close cousin the Aeolian Mode, this scale can be used in the same fashion, over a m7 chord, usually one that has a tonic function as in the im7 chord in a ii-V-i in any minor key.

Aeolian #7 can also be used to spice up long modal vamps that stretch out on m7 chords. Depending on the situation, you could apply this scale to any m7 chord vamp, such as “So What,” to add a new color to your lines. I wouldn’t recommend only using this scale over a m7 chord vamp, but when used in alteration with Dorian, Melodic Minor and Aeolian, it provides a nice level of personality and contrast to your solos.

Locrian #6

The second mode of the Harmonic Minor Scale is so named because it is built in a very similar manner to the Locrian Mode, except that the 6th note of the mode is raised in comparison.

Here is how the Locrian #6 scale is built from an intervallic standpoint:

R – m2 – m3 – P4 – D5 – M6 – m7 – R

Or in the key of C it would be:

C – Db – Eb – F – Gb – A – Bb – C

Check out my page on the Locrian #6 Mode to see how it is fingered on the guitar.

This mode is fairly rare in the jazz improvisational medium, since there are few times one comes across a m7b5(nat 6) chord in a chart. The few times that you will see this chord is when a composer writes it specifically for a certain piece of music, mostly modern composers who like to explore more outside harmonies.

Just because it’s not that common doesn’t mean you can’t use it in your playing. Many players have started new harmonic trends by exploring seldom used modes, making them their own and showing others how to use them in a jazz context. So check this mode out and maybe you will find a way to inject it into the common jazz vocabulary.

Ionian #5

The Ionian #5 mode is again related to one of the modes of the Major Scale, this time the parent scale, Ionian. In this case we raise the 5th note to produce the Harmonic Minor Mode. Because it has a P4 and A5 in the scale, this is one of the more common modes of the Harmonic Minor Scales used in contemporary jazz.

There are other modes and symmetrical scales that produce a Maj7(#5) chord, as does this mode, but they all contain the #11 interval as well, giving this mode’s P4 a unique and very cool sound that you can use to solo over Maj7 chords.

Here is how the mode is built from an intervallic standpoint:

R – M2 – M3 – P4 – A5 – M6 – M7 – R

Or in the key of C it would be:

C – D – E – F – G# – A – B – C

Check out my page on the Ionian #5 Mode to see how it is fingered on the guitar.

This is a great mode to use over Maj7 chords when you are tired of the same old Ionian and Lydian sounds that we are all used to. Check it out the next time you reach the Imaj7 chord in a ii-V-I progression. Not only will it inspire you to explore new sounds in your playing, but it’ll turn some heads in the process who aren’t expecting this cool mode over a I chord.

Dorian #4

This is another one of those rarely used modes of the Harmonic Minor Scale. Derived from the Dorian Mode, with a raised 4th note, this mode has a very unique sound that we can apply to our m7 soloing. Again, this isn’t a “first choice” sound when soloing over a m7 chord, but if you are playing over a longer m7 vamp, this is a cool  and unexpected sound that you can inject into your solo to raise the level of interest in your playing.

Here is the interval structure of the mode:

R – M2 – m3 – A4 – P5 – M6 – m7 – R

Or in the key of C it would be:

C – D – Eb – F# – G – A – Bb – C

Check out my page on the Dorian #4 Mode to see how it is fingered on the guitar.

A cool way to apply this scale is to alternate is with the traditional Dorian sound over a longer m7 vamp, using this new sound to create contrast and harmonic interest in your improvisations.

Phrygian #3

Yeah I know, this is a weird name for this mode, but it describes what it is, a Phrygian Mode with a raised 3rd. Though it is also closely related to the Mixolydian Mode, since the arpeggio that is formed with Phrygian #3 is a Dominant 7th chord, with a bunch of alterations. So it’s kind of a mix of the two scales, maybe it should be called Phrygolydian?

Because we can derive a 7th chord from this mode, we can use it to solo over a Dominant 7th chord when we are looking to add more alterations to our soloing.

Here is the interval structure of the mode:

R – m2 – M3 – P4 – P5 – m6 – m7 – R

Or in the key of C it would be:

C – Db – E – F – G – Ab – Bb – C

Check out my page on the Phrygian #3 Mode to see how it is fingered on the guitar.

Notice how we get a b9 and b13 with the mode, but not a b5 or #11, giving it a very specific sound that outlines a 7(b9,b13) chord. Because of this, the Phrygian #3 mode if one of the most commonly used modes derived from the Harmonic Minor Scale. Check it out, it is a great mode for spicing up your Dominant 7th chords in a way that doesn’t use symmetrical scales or modes of the Melodic Minor Scale.

Lydian #2

Though it has a distinctive sound, which adds a #2 to the traditional Lydian Mode, this scale has been explored and used by such modern jazz guitarists as the great New York player Ben Monder.  The raised 2nd, which can also sound like a b3 in certain circumstances, can be a nice color tone to any line over a Maj7 chord. The #2 can evoke a “bluesy” sound, which is the main reason that this color is used more often than some of other modes of the Harmonic Minor Scale.

Here is the interval structure of the mode:

R – A2 – M3 – A4 – P5 – M6 – M7 – R

Which in the key of C would be:

C – D#- E – F# – G – A – B – C

Check out my page on the Lydian #2 Mode to see how it is fingered on the guitar.

Try using this mode over a Maj7 chord in a ii-V-I, which may not sound great in a Bebop context, but for a more modern sounding tune it will fit right in.

Mixolydian #1

This is a weird one. It is built like a Mixolydian Mode with a raised root, strange huh? Then it sounds like a dimMaj7 chord in some instances, and an Altered Dominant in others. The most common application of this mode is over a dim7 chord, as an alternative to the traditional Diminished Scale. But, it can also be used over a Dominant 7th chord a half-step below the root of the mode. So for C7 you could use C# Mixolydian #1, which produces a C7(b9) chord without a root.

Here is the interval structure for this mode:

AR – M2 – M3 – P4 – P5 – M6 – m7 – AR

Or in the key of C# (or C depending on how you look at it) the notes are:

C# – D – E – F – G – A – Bb – C#

Check out my page on the Mixolydian #1 Mode to see how it is fingered on the guitar.

This mode is definitely unique, and one that can be used to spice up any solo over a dim7 or 7 chord with the right approach. Experiment with it in your practice room, you might come up with enough material to bring it out on the gig and make it a regular part of your vocabulary.

The Harmonic Minor Scale is a powerful tool for improvisors, composers and arrangers. One that is often pushed aside in favor of the Melodic Minor Modes and the ever popular Major Modes. But, if you are looking to expand your harmonic vocabulary, in a way that offers distinctive tonal colors and interesting chord sounds, then check out the Harmonic Minor Modes, they may be just what you are looking for.

Click to return to the Essential Jazz Guitar Scales Page

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Do you have a favorite use of the Harmonic Minor Modes? Share it in the comments section below.

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