APPENDIX E

Harmonic Minor Modes

When starting a harmonic minor scale using each of its tones as a new root, we can
originate seven modal scales or modes. They follow the modal order of the minor key:

* In the minor order of the modes, this would be a Phrygian. Although this mode has
sound characteristics of the Phrygian mode, the major third is stronger and suggests more
of a dominant sound.
* As seen in the Melodic Minor appendix, the reason for the name comes from the fact
that in this mode the last possible note that can be lowered (the 4th) is finally lowered,
making it “darker” than the original Locrian, only in this case the seventh can be lowered
again, from minor to diminished.

Harmonic Minor Modes: Related Chords and Extensions

These modes are closely related to the harmonic minor scale diatonic chords and
their notes can be either chord tones or extensions of those chords. The extensions
marked with a “*” are not usable in a functional context (see Appendix A), but all
extensions are usable in a modal context.

Basic chord: ImMaj7 Possible extensions: 9, 11

9th 11th b13th *

Basic chord: IIm7b5 Possible extensions: 11, 13

b9th* 11th 13th

Basic chord: bIIIMaj7#5 Possible extensions: 9

9th 11th * 13th *

Basic chord: IVm7 Possible extensions: 9, #11, 13

9th #11th 13th

Basic chord: V7 Possible extensions: b9, b13

9th 11th * b13th

* Seventh (Dominant) chords can accommodate all kinds of 9ths and 13ths (see Appendix
A). In order to include the 11th, the basic chord can be changed to V7sus4, substituting
the major third by the fourth (11th). When that happens, the third can then become the
extension (above the sus4) and be called 10th.

Basic chord: bVIMaj7 Possible extensions: #9, #11, 13

#9th #11th 13th

Basic chord: VIIº7 Possible extensions: b13

b9th * b11th * b13th

* The Super Locrian Dim 7th mode can be used over the º7 chord in diatonic
contexts.
Harmonic Minor Modes: Analysis of Individual Characteristics

It is harder to compare modes and define their individual characteristics when

looking at them as a diatonic part of one minor scale. If we transfer the characteristics of
each mode (their intervallic structure or formula) to the same starting note (or same root)
we can connect more clearly with their sound:
 At this point it should be clear that each mode has a characteristic intervallic sound:

HARMONIC I-Δ7 9, 11, 13 1 2 3 4 5 6 Δ7

MINOR
Locrian ♮6 II-7 5 9, 11, 13 1 2 3 4 5 6 7
Ionian 5 IIIΔ7 5 9, 11, 13 1 2 3 4 5 6 Δ7
Dorian #4 II-7( 11) 9,#11, 13 1 2 3 #4 5 6 7
Mixolydian 2 6 V7 9, 11, 13 1 2 3 4 5 6 7
Lydian #2 VIΔ7 #9, #11, 13 1 2 3 #4 5 6 Δ7
Super Locrian °7 VII°7 9, 11, 13 1 2 3 4 5 6 °7

* extensions in italic are not available in the tonal context

Separating The Modes By Sound Characteristic:

Just like major and minor keys, modes can be separated into ones that sound
minor (have a minor third) and ones that sound major (have a major third).
 Unlike the major modes, the transition from one mode to the next here is not as
smooth as more than one note changes at a time. Because of the fact that the Harmonic
Minor scale (and therefore its modes) is “artificially” created, there is no clear
relationship between the order in which the modes change from bright to dark and the
circle of fourths and fifths.

Even though it is not a smooth transition, we can still organize the Harmonic
Minor modes in an order from bright to dark:

Brighter

Lydian #2
Ionian #5
Mixolydian b2 b6
Dorian #4
Harmonic Minor
Locrian M6
Super Locrian Dim 7th

Darker