![]() To understand the derivation of the harmonic major, we have to briefly explain where harmonic minor scales come from. C harmonic major is spelled: C-D-E-F-G-Ab-B-C. It’s essentially like a harmonic minor scale, except it has a natural (not a flatted) 3 rd scale degree, as you would assume for any scale labeled “major.” In other words, it’s a major scale with a flatted 6 th degree. ![]() And it works for both major and minor II-V’s (details on that below)!įirstly, what is the harmonic major scale? In my experience, relatively few jazzers talk about or teach this scale, but it is possibly the single best scale to use if you want a simple and concise tool to help you start generating bebop vocabulary over II-V-I’s. I’ve already briefly delved into bebop scales here on the LJS site before, and in this post, I want to talk about another lesser known or “secret” scale: the harmonic major scale. Or, on the other hand, we often hear that you can treat the whole II-V-I as essentially one scale all based off of the Ionian (major) mode played from the root of the I chord.Īlthough these are sometimes useful approaches and can offer a very basic framework to help novice jazzers get started with improvisation, I think there are even better ways to conceptualize II-V-I’s regarding specific scale choices. We’re told the II-7 chord corresponds to a Dorian minor scale, the V7 a Mixolydian dominant scale, and the I(maj7) either a Lydian or Ionian scale. Most of the time, II-V-I’s are taught as a set of discrete modes or as a collection of related modes derived from a single parent scale.
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