Modes of the Harmonic Minor as Applied to Major Chords (#4)

In the fourth installment of John Stowell and Mike Godette's reharmonization and modulation conversation series, the two guitarists break down the harmonic minor scale and how its modes can be applied to major tonalities — both for chord voicings and improvisational ideas.

Having covered the harmonic minor modes over dominant chords in the previous session, John and Mike focus here on the two modes that generate tension over major: the third mode (relative harmonic minor over major — A harmonic minor over C major, giving a major 6 #5 sound) and the sixth mode (Lydian #9 — E harmonic minor over C major, which can also be heard as a B triad over a C bass, or as the "tonic diminished" chord in a ii-V-I-dim-I progression).

What's covered

• Utilizing the #9 over major tonalities
• Superimposing triads within the harmonic minor scale over major tonalities
• Weaving in and out of major and harmonic minor tonalities
• Variations within triads to change the sound of the tonality
• Hearing the basic foundation of the harmony mixed with harmonic minor tensions
• Improvising with a pulse and no fixed meter; chord shapes as templates for single-line improvising

You'll come away with a new set of sounds and colors to expand what you can play over major 7 tonalities, plus practical ways to hear and practice these modes against the underlying harmony.