functional resources harmonic major scale glenhalls

8/13/2019 Functional Resources Harmonic Major Scale Glenhalls

http://slidepdf.com/reader/full/functional-resources-harmonic-major-scale-glenhalls 1/39

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”

7)+5 +9 +11 13 5 Great Interesting Tonic.

ote: 13th is kind of weak. Adding the Natural 5 high, with the +11 tucked beside it sounds Great.

Absolutely Crushing over Dominant Pedals:



ote: This is a very interesting chord as the UPPER Partials may either function to color or –bite” th

wer partials in a tonic arrangement, OR, We may Solve for the lower partials and it really becomesrong Partial dominant sound. What is more, in the PD context is may sound to the equal tempered e

e SAME as a mi7-5 chord, which could be interesting in context.

olved: QUASI CHORD. ( ie. misspelled ) I-(7)+5 with 9 high and +11 and 13 ( But this is actually

) +5 and has to be partial dominant.) The presence of upper partials helps as well . Crushing over V

edal.



+2(7)+11 with 9 and 13 . Note, no 3rd in the chord. This is the one that sounds like mi7-5

6 + 9+11 +5 (7) high. ( kind of like B7/CE ) very nice either as TONIC , or to Move to IV This

rangement adds the bite of +5 down to 13, which is different. Also Great over V pedal. Tolerable -Actually +8 ) to Pedal tone.



Io7 literal and with -8 ( acting as major 7th) and possibly with 11th and -13 high pd. It is interestin

at the -13 above would be the conventional Leading tone, and its exposure may give it strong PURE

ominant leaning. Very Nice over V Pedal.

he -9 ( +8) G# to G is bothersome to some. ( Not to me )

I(7) 9 11 b13.Alternate tonic, but poor.

I(7)sus 9 -7 high. This is a more interesting Substitute tonic. Very Nice over I and V Pedals.



V 07 ( really +6) with 9 and 11 high. weak or partial dominant, well full dominant also. sounds gre

ver V or I pedals

V-7 -13 Dominant by virtue of B and D#. Quite Nice with -5 high. Strangely nice over V pedal.esolves as even Stronger Dominant to Deceptive Tonic vi



his is a very strange chord. It will sound like Ab minor but can create motion back to I as a domina

s SUSPENSION FORM with -4 and -13 solved for -3 and 5 , we get TONIC. BUT the suspension

NOT A REAL TRIAD, itês a diminished 4th. This creates some Crushing sounds over the I and V

Pedals.

I-(7) 9 +11 13 Deceptive Tonic. The best full spelling of this chord. Over V pedal it sounds like Ne

ddle on Stardust. With the +11 solved for V ( and sounding like mi7-5) you get a nice weak or part

ominant, and it works very well over a V pedal



I - 6 with +11 and VI - +11 (7) 13 . Good with 9 and 11 high. This is an example of that Diminishe

h and Diminished major 7th sound by it doesnêt spell or behave that way at all. This is a Partial

ominant chord. Nice Over I and V pedals. Very Nice Sounds.

II7 -9 -10 13 Dominant. This is a very interesting Dominant as it doesnêt have an F or G Good ove

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 to

(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

(7) 9 +11 13 minor tonic Very nice and very common

(7)-5 Which is actually the +11. Iêd call this Dominant Self resolving. or D/T

69 +11. A very nice minor tonic



7 -9 -10 13 and II 6 -9 -10 Very nice and very interesting -9 to root here, which works in my opinio

oth Great over V pedal. Especially the II6 -9 -10

II(7)+5 9 or #9 +11 13 altternate tonic in minor. or correcting dominant, especially with +9 Great o



pedal.

Vo7 or with -8 -9 11 -13 pd. Note: -8 makes it sound like a (7) chord partial dominant or weak

ominant. Great over V pedal



(7) 9 Pure dominant. not much new or useful here

(7) sus -13 9 3 and 5 high. This is really Dominant suspension/V pedal. Very nice.

Io7 9 11 b13 poor.

i mi7-5 9 11 13 very good minor tonic. Very nice , soft yet full sound



II -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



7) 9 11 b13 up high. Tonic, but nothing new or useful

VI Quasi mi2-5/I Actually bVI (7)+11 +2 with 9 /I This is in fact a mixed dominant sound.

so bVI(7)+5 +9 /I Tonic or SD/T Very nice, especially with the +9



-7b5 9 11 13. Note: This is the 4th and last of the mi7-5 options. Subdominant to minor. b13 passin

ailable. - quite nice over I, V, or bVI pedals.

I nothing good.

V-(7) 9 #11 13 S to minor. 9 13



V-(7)b5 9 13 Dominant. b5 is really a +11 ( with 11 tucked sounds great.) or 11 up high. 13th doesn

ntribute. Both Great over V pedal.

7 -9 13 D to minor. ( b10 also possible.) ( 13th present and sounds good. 5th sounds terrible, so om

tc

7 susb9 Note: 5th sounds better than 13 here. A good and strong subdominant



VI(7)+5 #9 #11 Subdominant to minor or Possible T. ( will still sound like sus over tonic)

VI(7)+5+11 no 3 +9

VI(7)-5 ( really +11) +9 13 ( nat 9 possible up high also) S to minor. ( natural 9 possible on all of th

ut not what makes the scale unique.) Great Over V Pedals and I pedals.



IIo7 .but with -9 11 -13 The "soft and commercial one" Mixed Dominant to Minor. Very good over

dal ( which is in the chord.)

Note: This is not the symmetrical scale. It contains the C natural, which may be used as a passing to

Some 4th voicings:



Mode VI of the harmonic major Phrygian.

1 -2 (-3) 3 4 5 6 -7 –mixolydian b3b2”

b9b10 11 13 Blues Tonic

-9-10 13 Great Subdominant//Tonic Both are very nice over V pedal.

sus -9 13 3 high.



I(7)+5 9 +9 +11 13 Subdominant to major

I(7)b5 9 or #9 13 subdominant to major +9 provides an interesting sound. Both are good over I and

dals. especially V

II7 9 #11 13 +8 alternate tonic in minor. or used as Correcting subdominant, especially over V ped



Io7 or III-7 b5 with -8 ( sounds like (7) b13 Substitute blues TONIC? YES. Both forms also good o

V pedal. It is a real correction.

V7 9 Subdominant to major ( Bluesy subdominant )

V(7) 9 Subdominant to major

oth are also fine as SD/T or SD/D suspensions using Pedals.



hen with some solving suspensions . All of these are fantastic over I and V pedals as SD/T or SD/D

spensions.

V(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.

ajor Subdominants.



mi7-5 9 11 b13 13 Subdominant or Pseudo Dominant. ( modal subdominant which acts and sounds

-10 upper partials over a Real Dominant. )

ery good as SD/I suspensions with I pedal also.

I nothing new or of use.

VIImi (7) 9 11 +11 13 S to major or Pseudo over V pedal. Also nice soft SD suspension over I peda



VIImi 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 4t



Mode VII (Locrian) or the harmonic major.

1 2-3 4 -5 (-6) 6-7

nil of use. +4 might have been of use, but not b5 per se.

mi7-5 -9 -13 Tolerable -9. -13 is optional. Subdominant to minor . It ends up sounding like a first

version Bb7 chord. Best over V pedal. ( The first inversion bVIi7 over V pedal is great, like a Pseu



II Normally I would say nothing of use, except that many people play the bIIImi11 correction.

II-(7) 9 11 bIII-(7)-5 8 11, except the -5 is really a +11 This sounds like a Pure dominant, but is no

teresting to have both a +11 and 11 in the same chord. Here, the 11 high does help- it gives it a stro

bdominant sound. The +11 as -5 version does sound great over a V pedal.

Vmi7 Fine, but nothing really new or interesting.

V7 13 b9b10 Subdominant to major. Not really happening.



V(7) should not work, but kind of does with a couple of alterations. (Iêm probably thinking of a #IV

ord here )

V(7)+5 Except the +5 is really a -6 9 11 high

V(7)-5 except the -5 is really a +11 and is also the tonic C. 9 11 Both Great over I pedal. Wicked ov

dal. Iêd have to call it a correcting subdominant.

Imi7-5 Been there done that. Not very good.

VII(7) -7 high poor S to major, but might be interesting when solved

VII(7) -6 9 with 5 high. SD to major. or possibly Correcting SD

VII(7)sus -6 9 with 5 and 3 high



VII7 -6 9 with 5 high. SD to minor or possibly Correcting SD

VII7sus -6 9 with 5 and 3 high

ll good over I and pedals. Over V pedal it resembles a pseudo.



Some 4th voicings:

No Mode 8 in harmonic major.

Mode 9 of the harmonic major.( from the E.)

1 -2-3 -4 (-5) 5 -6 -7

7 b9 b11 b13 Tonic in minor but very poor and useless.

I-(7) 9 11 13 Subdominant

I-(7)-5 ( actually +11) 9 11 13 Subdominant, good the +11 works well over a I pedal, and both wor



ell over the V pedal

II-7 useful for corrections here.

II-7 11 13 Correcting Subdominant . no 9 , bIII-7 sus -3 13 high. This one is a true Subdominant to

inor. Both good over pedal.



V(7)+5 9 +11 13 Subdominant to minor., bIV(7)-5 (actually +11) 9 13 Subdominant to minor. Bot

ry good over both I and V pedals

V nothing of use.

o7 11 b13 Weak SD but sounds bad.

o (7) sus. actually -8 and 4th but no 3rd.. This is kind of an interesting correcting SD

tc



VI(7) 9 S to minor. nothing new

teresting examples from solving suspensions, however.

VI(7)-6 9 5 high, bVI(7)sus 9 3 high, bVI(7)sus -6 9 3 and 5 high. All SD to minor, and all killing o

and V pedals.

VII-7 b5 9 11 13 . blues Tonic substitute again.



VIIo7 9 11 13. Note, this is actually a bVIImi6-5 Strong SD to minor or Pseudo over V pedal. Grea

us/Blues sound over I pedal.

Some 4th Voicings: Killer for Blues.

tc

Mode 10 of the harmonic major (from the B)

1 -2 -3 4 -5 -6 - - 7 (7 )



nothing new or of use

I(7) 9 OK but not great

I(7)sus 9 3 high is interesting. and very nice over I and V pedals. Correcting Subdominant

I +6 chord. 9 Augmented Sixth mixed Dominant.

I +6 sus 9 3 high

I +6 -13 9 5 high

I +6 sus 9 5 and 3 high.

ll great chords, but donêt lend themselves to pedals.



tc

II. Interesting that this degree will sounds like VII(7) in first inversion and a dominant, but It really

nêt.

II-7 9 11 13 Correcting Sub

II-7 +5 9 5 high. This is now closer to a subdominant correction.

II-7 9 13 3 high. SD correction again.

II-7sus+5 9 5 and 3 high. This is now a Mixed Dominant, or mixed dominant correction.

ot bad over tonic pedal. A little harsh over a dominant pedal.



V-7 11 Subdominant, but poor except in sus position below

V-7 -5 (actually a +11 11 b13 Mixed Dominant.) Very Good over a V pedal. ( Becomes a G7 chord

V-7+11sus -13 -9 Possible tolerable minor 9th.. Interesting sound.

tc

nil.

uasi bVI- 69 with 11. Actually a mixed Dominant. Great over V pedal. Interesting over I pedal. D w

th very nice. Note the minor third is really a +9



VI- 6 9 11sus 3 high. Very cool. But really just an INVERSION of Db

II nil.

4ths: many imperfect 4ths or tritones available.

functional resources harmonic major scale glenhalls

Documents