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Minor Sea le Fingerings Minor scale fingerings may be derived from their relative major scale fingerings. However, an easier way to rhink about the minor scale fingerings would be to relate the scales to scale fingerings we already know. For example, the harmonic minor scale may be conceived of as a major scale with a lowered third and sixth. Below we see the A harmonic minor scale fingering derived from the Form 3 A major scale. A harmonic minor (Form 3)

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Below is anorher fingering for the harmonic minor scale. This exarnple is a O harmonic minor scale. The fingering is taken from the Form 4 D major scale. D harmonic minor (Form 4)

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Remember that Forrn 3, Form 4, or Form 5 indicated in parentheses simply refers to our original majar seale fingering forms. Lower the third and sixth degrees to form the harmonized minar seale. You should do the same wirh the major seale Forms 1 and 2. Jazz Minar

Scale

Fingerings

As an easier way to eoneeive of the jazz minor seale fingerings, rhink of the major seale forms as we did for the harmonie minar seale and lower just the third. See below. A jazz minor (Form 3)

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Here is another fingering for rhe A jazz minor seale. It is based on the Forro 5 A major seale fingering. A jazz minor (Form 5)

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Here is a practical fingering for a jazz minor scale whose tonic note is on the fifth string. We will use the Form 4 D major scale fingering with the third lowered. D jazz minor (Form 4)

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At this point you should convert all the major scale forms that we learned earlier to jazz minor scales and play them all over the fingerboard. Some fingerings will no doubt be more comfortable than others, but eventually you should be able to play these scales all over the fingerboard with equal facility.

Applying the Jazz Minor Scale The most common use of the jazz minor scale is over a dominant seventh chord in order to create tension, which is then resolved by going to the 1 chord. Play the jazz minor scale one half step higher than the root of the dominant seventh chord. For example, over a G7 chord play the Ab jazz minor scale. Below we see the relationship of the Ab jazz minor scale to the G7 chord. Notice that the scale creates all of the available altered notes, the b5, #5, b9, and #9. G7

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As you learned earlier, the harmonized scale is made up of chords containing notes that are within the scale. However, the harmonized minar scale that is used in pop and jazz music is a cornbination of the harmonic and jazz minor scales. You will note in the A harmonized scale shown below that the roots of each chord are taken from the A jazz minor scale, while the notes that make up the chords above each root are taken from the A harmonic minor scale.

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Although the VIi? (VIm?b5) chord is built on the F#, since that note is in the A jazz minor scale, any F in the chords is played natural since there is no F# in the A harmonic minor scale. Notice that the V chord is extended to the ninth, which in this case is the flatted ninth since the F is played as a natural. Ir is important to remember that the roots of the chords come from the jazz minor scale bur the notes that make up the chords above the roots come from the harmonic minor scale. The harmonic minor scale that will be me best choice for improvising over a Il-V-I progression in a minor key. 120

Applying

the Harmonic

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Below are several examples of improvised lines over the IIm7b 5-v7b9- Im(maj7) chord progression in the key of A minoro When improvising over this progression it is best to use the harmonic minor scale over all three chords. The fingerings are taken from the A harmonic minor scales shown on page 117.

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