While one could conceivably go about their entire guitar existence without knowledge of anything other than the Pentatonic and Diatonic Scales, it is an entirely worthwhile endeavor to expand and examine certain scales that come about through simple modifications of the Major Scale (Ionian) and Minor Scale (Aeolian). In this lesson we will look at the Harmonic Minor scale and its modes. You will find that these modes sound radically different from the Major scale modes. With the Harmonic Minor modes, you can achieve a wide variety of sounds, from a Middle Eastern sound to a Spanish Gypsy (check out the 5th mode...) sound. People often associate Harmonic Minor with the so-called Neoclassical players like Yngwie Malmsteen, but the scale goes much deeper than that, as I think you will soon find out.

When you practice these, keep in mind that the Diatonic Scale exercises apply here as well (3 octave scales, sequences and patterns).

Also, since I am using G Harmonic Minor for these exercises, you should expect that these modes will be similar to all the modes in Bb Major (because G Minor is the Minor mode of Bb Major). The table below shows which Harmonic modes are similar to which Major modes. (Note: They are similar - not the same!)

We have now reached the end of our Harmonic Minor modes. This time we have a nameless mode. We can't have that. So how about we call this the Harmonic Mixolydian?

Here we see the 7th Harmonic Minor mode (recently renamed Harmonic Mixolydian...). The only difference between this shape and the Mixoydian mode is that here, the 1st note is raised.

See exercise 1 for any special instructions. Also, try ascending with this mode and descending with the Mixolydian.