Demonstration of Harmonic Minor Modes Over Dominant Chords #3

John Stowell and Mike Gaudette continue their conversation series — part three, following two classes on melodic minor — by applying the harmonic minor scale to dominant chords. Working over a C7, they explore four harmonic minor key centers that each generate a different combination of tensions, sharing voicings, tips and two complementary approaches throughout.

What's covered

• The four modes of harmonic minor that work over a dominant chord, ordered from least to most tension
• F harmonic minor over C7: getting the flat 9 and flat 13 alongside the natural 5 — and how that differs from the altered scale
• Mike's systematic approach: playing every seventh arpeggio of the harmonic minor key against the dominant chord to find the best colors
• John's chordal approach: hearing harmonic minor chords as variations on the dominant (e.g. a C#m triad over F as C7 with flat 9 and flat 13)
• Harmonic minor as an implied V — referencing it for a beat or two over major, minor or dominant chords
• Judging how much tension fits the musical context, and using tensions to create resolution

Intermediate players will come away with many new colors and harmonic choices for soloing over dominant chords in a V–I setting.