Modes of the Harmonic Minor Scale II: The Parallel Approach

Whereas the relative approach relates each of the modes to the harmonic minor scale from which it is derived, the parallel approach views each mode as an independent scale.

As such, each modal scale can be compared with another similar scale with the same root note.

This post will compare the modes of the harmonic minor scale with the closely related modes of the major scale.

It will also provide common fingerings for each of the modes, along with instruction on how to play them on a guitar with any root note.

Constructing the Modes of the Harmonic Minor Scale: The Parallel Approach

Each mode of the harmonic minor scale can be constructed by altering a corresponding mode of the major scale.

For example:

An A harmonic minor scale can be constructed by altering an A Aeolian (natural minor) scale.
A B Locrian #6 scale can be constructed by altering a B Locrian scale.
A C Ionian #5 scale can be constructed by altering a C Ionian scale.
A D Dorian #4 scale can be constructed by altering a D Dorian scale.
An E Phrygian #3 (or Phrygian dominant) scale can be constructed by altering an E Phrygian scale.
An F Lydian #2 scale can be constructed by altering an F Lydian scale.
A G# super Locrian bb7 scale can be constructed by altering a G Mixolydian scale.

Harmonic Minor Scale (HM1)

A harmonic minor scale is an Aeolian (or natural minor) scale with a raised seventh scale degree.

To construct a harmonic minor scale:

Write out the notes in an Aeolian scale with the same root note.
Raise the seventh scale degree a half step.

For example, to construct an A harmonic minor scale:

Write out the notes in an A Aeolian scale.
Raise the seventh scale degree from G to G# (fig.1).

Fig.1

Locrian #6 Scale (HM2)

A Locrian #6 scale is a Locrian scale with a raised sixth scale degree.

To construct a Locrian #6 scale:

Write out the notes in the Locrian scale with the same root note.
Raise the sixth scale degree a half step.

To construct a B Locrian #6 scale:

Write out the notes in a B Locrian scale.
Raise the sixth scale degree from G to G# (fig.2).

Fig.2

A B Locrian #6 scale contains the notes B, C, D, E, F, G#, and A.

Ionian #5 Scale (HM3)

An Ionian #5 scale is an Ionian scale with a raised fifth scale degree.
To construct an Ionian #5 scale:

Write out the notes in the Ionian scale with the same root note.
Raise the fifth scale degree by a half step.

To construct a C Ionian #5 scale:

Write out the notes in a C Ionian scale.
Raise the fifth scale degree from G to G# (fig.3).

Fig.3

A C Ionian #5 scale contains the notes C, D, E, F, G#, A and B.

Dorian #4 Scale (HM4)

A Dorian #4 scale is a Dorian scale with a raised fourth scale degree.

To construct a Dorian #4 scale:

Write out the notes in the Dorian scale with the same root note.
Raise the fourth scale degree a half step.

To construct a D Dorian #4 scale:

Write out the notes in a D Dorian scale.
Raise the fourth scale degree from G to G# (fig.4).

Fig.4

A D Dorian #4 scale contains the notes D, E, F, G#, A, B and C.

Phrygian #3 (or Phrygian Dominant) Scale (HM5)

A Phrygian dominant scale is a Phrygian scale with a raised third scale degree.

To construct a Phrygian #3 scale:

Write out the notes in the Phrygian dominant scale with the same root note.
Raise the third scale degree a half step.

To construct an E Phrygian dominant scale:

Write out the notes in an E Phrygian scale.
Raise the third scale degree from G to G# (fig.5).

Fig.5

A E Phrygian #3 scale contains the notes E, F, G#, A, B, C and D.

Lydian #2 Scale (HM6)

A Lydian #2 scale is a Lydian scale with a raised second scale degree.

To construct a Lydian #2 scale:

Write out the notes in the Lydian scale with the same root note.
Raise the second scale degree a half step.

To construct an F Lydian #2 scale:

Write out the notes in an F Lydian scale.
Raise the second scale degree from G to G# (fig.6).

Fig.6

A F Lydian #2 scale contains the notes F, G#, A, B, C, D and E.

Super Locrian bb7 Scale (HM7)

A super Locrian bb7 scale is a Mixolydian scale with a raised first scale degree.

To construct a super Locrian bb7 scale:

Write out the notes in the Mixolydian scale with a root note a half step below the root note of the super Locrian bb7 scale.
Raise the first scale degree a half step.

To construct a G# super Locrian bb7 scale:

Write out the notes in a G Mixolydian scale.
Raise the first scale degree from G to G# (fig.7).

Fig.7

A G# super Locrian bb7 scale contains the notes G#, A, B, C, D, E and F.

Modes of the Harmonic Minor Scale on a Guitar: The Parallel Approach

With the parallel approach to modes, each mode is treated as an independent scale and compared with a corresponding mode of the major scale.

With this approach, to play a modal scale on a guitar we have two options:

Learn a separate fingering for each modal scale.
Play the mode of the major scale, but alter the appropriate note for the modal scale.

The first option is by far the easier one and the one we will use in this post.

Locrian #6 Scale

Fig.8a shows a common fingering for a Locrian #6 scale.

To play a B Locrian #6 scale, start the pattern on the B on the sixth string, seventh fret (fig.8b).

Fig.8

Ionian #5 Scale

Fig.9a shows a common fingering for an Ionian #5 scale.

To play a C Ionian #5 scale, start the pattern on the C on the sixth string, eighth fret (fig.9b).

Fig.9

Dorian #4 Scale

Fig.10a shows a common fingering for a Dorian #4 scale.

To play a D Dorian #4 scale, start the pattern on the D on the sixth string, 10th fret (fig.10b).

Fig.10

Phrygian #3 (or Phrygian Dominant) Scale

Fig.11a shows a common fingering for a Phrygian #3 scale.

To play an E Phrygian #3 scale, start the pattern on the E on the sixth string, 12th fret (fig.11b).

Fig.11

Lydian #2 Scale

Fig.12a shows a common fingering for a Lydian #2 scale.

To play an F Lydian #2 scale, start the pattern on the F on the sixth string, 13th fret (fig.12b).

Fig.12

Super Locrian bb7 Scale

Fig.13a shows a common fingering for a super Locrian bb7 scale.

To play a G# super Locrian bb7 scale, start the pattern on the G# on the sixth string, fourth fret (fig.13b).