As you know from Chapters 4 and 5, both the harmonic minor and the Dorian mode contain minor thirds. Yet, they differ on the sixth and seventh scale degrees. The harmonic minor uses a minor sixth interval and a major seventh interval. The Dorian mode uses a major sixth interval and a minor seventh interval. So while these scales are cousins, they are by no means the same. Therefore, be sure not to confuse them!

The harmonic minor scale was chosen for further discussion in this chapter because it is very useful when you wish to evoke an exotic or “foreign” feel to your music. This is especially useful in progressive rock or art-rock styles. First, try playing the scale tones using a basic triad. FIGURE 8-1 shows this in the key of A minor. The harmonic minor fits perfectly over a minor i chord in different inversions.

Now solo over i, iv, and V chords. The result should be an interesting modal exploration that hints at baroque and classical music. Why? These styles of European classical are very diatonic. Unlike the mid to late romantic period, baroque and classical remain attached to tonal centers. It wasn't until composers such as Frederick Chopin (1810–1849) and Franz Liszt (1811–1886) came along that piano harmony began to embrace deep chromaticism, unexpected key modulations, and dissonant harmonic extensions.

FIGURE 8-1: Using the Harmonic Minor Scale

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FIGURE 8-2 shows one possible harmonic minor improvisation over i, iv, and V chords.