Peter Rubie

In this video I’m breaking down how Harmonic Minor and Harmonic Major are really built around a simple idea: tension and resolution. Instead of thinking of them as just seven note scales, we can organise them into two sounds. When you harmonise C Harmonic Minor, the fully diminished 7th chord on the 7th degree (B, D, F, Ab) is symmetrical, which means we find this same chord (as inversions) on the b6th, 4th, and 2nd degrees of the scale. That diminished sound represents the tension side of the scale, and it can also be heard as a dominant b9 from the 5th degree (G7b9). Once you take those four notes away, you’re left with the tonic triad (C, Eb, G). That’s the resolution. So instead of thinking about the scale as seven separate notes, we can organise it into two clear sounds: Diminished Tension + Tonic Resolution. The same approach works with Harmonic Major. We keep the diminished structure, but the tonic triad becomes major instead of minor.

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Thanks to @thingsivelearnedfrombarryh2616 for stopping by the studio Chris Parks - Guitar Bob DeBoo - Bass Kaleb Kirby - Drums

Thanks to @thingsivelearnedfrombarryh2616 for stopping by the studio! Unlock your free 14-day trial today - openstudiojazz.com Chris Parks - Guitar Adam Maness - Piano

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