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Of the Harmonic Major

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Of the Harmonic Major Functional Resources of Scales by Glen Halls © All Rights Reserved IV the Harmonic Major The original or common version is in the Aeolian position 1 2 3 4 5 -6 (-7) 7 But we will Start with the Lydian. 1 (2) +2 3 +4 +5 6 7 ” Kind of a Lydian augmented with a +2” I(7)+5 +9 +11 13 5 Great Interesting Tonic. Note: 13th is kind of weak. Adding the Natural 5 high, with the +11 tucked beside it sounds Great. Absolutely Crushing over Dominant Pedals: Note: This is a very interesting chord as the UPPER Partials may either function to color or –bite” the lower partials in a tonic arrangement, OR, We may Solve for the lower partials and it really becomes a strong Partial dominant sound. What is more, in the PD context is may sound to the equal tempered ears the SAME as a mi7-5 chord, which could be interesting in context. Solved: QUASI CHORD. ( ie. misspelled ) I-(7)+5 with 9 high and +11 and 13 ( But this is actually I +2 (7) +5 and has to be partial dominant.) The presence of upper partials helps as well . Crushing over V Pedal. I +2(7)+11 with 9 and 13 . Note, no 3rd in the chord. This is the one that sounds like mi7-5 I 6 + 9+11 +5 (7) high. ( kind of like B7/CE ) very nice either as TONIC , or to Move to IV This arrangement adds the bite of +5 down to 13, which is different. Also Great over V pedal. Tolerable -9 (Actually +8 ) to Pedal tone. #IIo7 literal and with -8 ( acting as major 7th) and possibly with 11th and -13 high pd. It is interesting that the -13 above would be the conventional Leading tone, and its exposure may give it strong PURE Dominant leaning. Very Nice over V Pedal. The -9 ( +8) G# to G is bothersome to some. ( Not to me ) III(7) 9 11 b13.Alternate tonic, but poor. III(7)sus 9 -7 high. This is a more interesting Substitute tonic. Very Nice over I and V Pedals. #IV 07 ( really +6) with 9 and 11 high. weak or partial dominant, well full dominant also. sounds great over V or I pedals #V-7 -13 Dominant by virtue of B and D#. Quite Nice with -5 high. Strangely nice over V pedal. Resolves as even Stronger Dominant to Deceptive Tonic vi This is a very strange chord. It will sound like Ab minor but can create motion back to I as a dominant. In its SUSPENSION FORM with -4 and -13 solved for -3 and 5 , we get TONIC. BUT the suspension it is NOT A REAL TRIAD, itês a diminished 4th. This creates some Crushing sounds over the I and V Pedals. VI-(7) 9 +11 13 Deceptive Tonic. The best full spelling of this chord. Over V pedal it sounds like Nelson Riddle on Stardust. With the +11 solved for V ( and sounding like mi7-5) you get a nice weak or partial dominant, and it works very well over a V pedal VI - 6 with +11 and VI - +11 (7) 13 . Good with 9 and 11 high. This is an example of that Diminished 7th and Diminished major 7th sound by it doesnêt spell or behave that way at all. This is a Partial Dominant chord. Nice Over I and V pedals. Very Nice Sounds. VII7 -9 -10 13 Dominant. This is a very interesting Dominant as it doesnêt have an F or G Good over I or V pedals. Interesting -9 to root, noise for some, interest for others. 4ths. voicings of the scale C F# B E A D or D# D# A D G C F# A D# G C F# B These all sound Great over I or V pedals. No mode 2 of Harmonic Major. Mode III (Mixolydian) of Harmonic Major. This is doubtful as it would be from the passing tone (Bb) But, it would be ( 1) +1 2 3 4 5 6 - 7 Mode Four. ( Dorian) of the Harmonic Major. 1 2 -3 (4 )+4 5 6 7 8 –Like a minor +4 I-(7) 9 +11 13 minor tonic Very nice and very common I-(7)-5 Which is actually the +11. Iêd call this Dominant Self resolving. or D/T I- 69 +11. A very nice minor tonic II7 -9 -10 13 and II 6 -9 -10 Very nice and very interesting -9 to root here, which works in my opinion. Both Great over V pedal. Especially the II6 -9 -10 bIII(7)+5 9 or #9 +11 13 altternate tonic in minor. or correcting dominant, especially with +9 Great over V pedal. #IVo7 or with -8 -9 11 -13 pd. Note: -8 makes it sound like a (7) chord partial dominant or weak dominant. Great over V pedal V(7) 9 Pure dominant. not much new or useful here V(7) sus -13 9 3 and 5 high. This is really Dominant suspension/V pedal. Very nice. VIo7 9 11 b13 poor. Vi mi7-5 9 11 13 very good minor tonic. Very nice , soft yet full sound VII -7 b9 Dominant to minor. but not a very good one. 4th voicings of the scale. (high D clipped off in the 5th chord) Mode V (Aeolian) of the harmonic major (the common or Original version) 1 2 3 4 5 -6 (-7) 7 I(7) 9 11 b13 up high. Tonic, but nothing new or useful bVI Quasi mi2-5/I Actually bVI (7)+11 +2 with 9 /I This is in fact a mixed dominant sound. also bVI(7)+5 +9 /I Tonic or SD/T Very nice, especially with the +9 II-7b5 9 11 13. Note: This is the 4th and last of the mi7-5 options. Subdominant to minor. b13 passing available. - quite nice over I, V, or bVI pedals. III nothing good. IV-(7) 9 #11 13 S to minor. 9 13 IV-(7)b5 9 13 Dominant. b5 is really a +11 ( with 11 tucked sounds great.) or 11 up high. 13th doesnêt contribute. Both Great over V pedal. V7 -9 13 D to minor. ( b10 also possible.) ( 13th present and sounds good. 5th sounds terrible, so omit) tc V7 susb9 Note: 5th sounds better than 13 here. A good and strong subdominant bVI(7)+5 #9 #11 Subdominant to minor or Possible T. ( will still sound like sus over tonic) bVI(7)+5+11 no 3 +9 bVI(7)-5 ( really +11) +9 13 ( nat 9 possible up high also) S to minor. ( natural 9 possible on all of these, but not what makes the scale unique.) Great Over V Pedals and I pedals. VIIo7 .but with -9 11 -13 The "soft and commercial one" Mixed Dominant to Minor. Very good over a C pedal ( which is in the chord.) Note: This is not the symmetrical scale. It contains the C natural, which may be used as a passing tone Some 4th voicings: Mode VI of the harmonic major Phrygian. 1 -2 (-3) 3 4 5 6 -7 –mixolydian b3b2” I7 b9b10 11 13 Blues Tonic I7 -9-10 13 Great Subdominant//Tonic Both are very nice over V pedal. I7sus -9 13 3 high. bII(7)+5 9 +9 +11 13 Subdominant to major bII(7)b5 9 or #9 13 subdominant to major +9 provides an interesting sound. Both are good over I and V pedals. especially V bIII7 9 #11 13 +8 alternate tonic in minor. or used as Correcting subdominant, especially over V pedal IIIo7 or III-7 b5 with -8 ( sounds like (7) b13 Substitute blues TONIC? YES. Both forms also good over a V pedal. It is a real correction. IV7 9 Subdominant to major ( Bluesy subdominant ) IV(7) 9 Subdominant to major Both are also fine as SD/T or SD/D suspensions using Pedals. Then with some solving suspensions . All of these are fantastic over I and V pedals as SD/T or SD/D suspensions. IV(7) b6 9 5 high, . IV(7)sus b6 9 5 and 3 high., IV7 b6 9 major 3 and 5 high., IV7sus b6 9 3 5 high. All Major Subdominants. Vmi7-5 9 11 b13 13 Subdominant or Pseudo Dominant. ( modal subdominant which acts and sounds like -9 -10 upper partials over a Real Dominant. ) Very good as SD/I suspensions with I pedal also. VI nothing new or of use. bVIImi (7) 9 11 +11 13 S to major or Pseudo over V pedal. Also nice soft SD suspension over I pedal. bVIImi 6 9 11 try the +9 also. S to major and great over I and V pedals. 4ths voicings: The interesting options here is the quasi 4ths E Bb Eb bluesy sound. Not a literal 4th Mode VII (Locrian) or the harmonic major. 1 2-3 4 -5 (-6) 6-7 I nil of use. +4 might have been of use, but not b5 per se. IImi7-5 -9 -13 Tolerable -9. -13 is optional. Subdominant to minor . It ends up sounding like a first inversion Bb7 chord. Best over V pedal. ( The first inversion bVIi7 over V pedal is great, like a Pseudo. ) bIII Normally I would say nothing of use, except that many people play the bIIImi11 correction. bIII-(7) 9 11 bIII-(7)-5 8 11, except the -5 is really a +11 This sounds like a Pure dominant, but is not. Interesting to have both a +11 and 11 in the same chord.
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