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The minor harmonic scale is one of the easiest to recognize, given that its composition is similar to its "sister" natural minor, but with the difference being in the last note, raised a half-step in the minor harmonic.
Looking at the characteristics of the degrees of a scale, we can say that the VII° assumes the role of sensitive, which means that you must conclude the sequence on the root (seen as VIII°). This happens when the VII° is found a half-step from the root. In the NMS (natural minor scale), however, the distance between the VII° and the VIII° is a whole step, and therefore loses the role of sensitive.
For this reason, in the past centuries, composers opted for the raising of 1st of the VII° of the NMS, creating the minor harmonic scale (abbreviated to MHS).
If you want to compare the NMS to the MHS, we see that difference is only in the VII°, which is raised in the 1st. Lets look at the natural minor scale and the minor harmonic scales of A.
We can also compare the DMS (diatonic major scale) of A with the MHS of A. We notice that the III° and the VI° of the major scale are lowered in 1st in the minor harmonic scale.
The utility of the MHS coincides with its versatility. In fact it can be found in jazz, classical, or any musical genre that draws from these two. We will talk more about this later. The first thing is to study and memorize the fingerings.
The root we will use is A, because its composed of natural notes (except one), and is therefore easier to learn. The principal fingerings are developed using the three notes per string system of the major scales. Be careful in the use of the nomenclature of the positions, because you could find a position (for instance the second) and to also play one note at the first fret. In this case you must maintain the position, which is the second, moving the index finger up to the first fret without moving the hand.
The names used for the various fingerings are a personal "index" of the fingerings themselves. Accordingly, every scale can always be transported in the other scale by making reference to the root (blue in the graphs), and starting the execution with the lowest root closest to the sixth string, then climbing up to the highest note of the fingering, going down to the lowest to then returning to the root. Pay attention to the recommended fingerings, due to the problems related to the numerous position changes.
The numbers on the string indicates which fingers to use, while the Roman numerals below show the reference position of the lowest root. We will use three notes per string for the construction of the fingerings with alternate picking.
Minor Harmonic 1
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The first fingering is spaced over seven frets, also considering the extension of the left hand on the sixth string opened to five frets. The position of the fingering is the second, (indicated by the Roman numeral), and is played by starting from the root on the 6th string with the 4th finger. This for the 6th, 5th, 4th and 3rd strings. |
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Minor Harmonic 2
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Also in this case we have to work on seven frets. Be aware of the fact that the left hand be wide open when the G# appears (seventh degree major), due to the distance (two frets) from the previous note. Two positions used, the 5th for the first two strings, and the 4th for the remaining four strings. |
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Minor Harmonic 3
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We reduce the fingering to six frets. In this case starting directly with the first finger, which facilitates this fingering that could cause coordination problems with the first two strings. |
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Minor Harmonic 4
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From the 6th to the 3rd string we work in the seventh position, extending the little finger one fret on the 5th string. On the 2nd and 1st string the left hand plays in the ninth position. |
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Minor Harmonic 5
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Another six fret fingering, that includes the tenth position on the 1st and 2nd string, and the ninth position on all the others. Pay attention to the passage between the 3rd and 2nd strings, as it can be a little uncomfortable. |
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Minor Harmonic 6
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We return to a seven fret fingering, which presents some extended positions. In this case, being narrow frets, there should be no particular problems. However, changing the root, the same fingering could be played in other positions, even near the first frets but surely a little uncomfortable. |
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Minor Harmonic 7
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In this fingering, again six frets, we work in three positions. The twelfth for the 6th, 5th and 4th strings. The thirteenth for the 3rd string, and the fourteenth for the first two strings. |
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