Tom Lippincott
The Harmonic Major Scale The structure of the harmonic major scale is quite simple; it can be thought of as simply a major scale with a flatted (lowered) sixth or a harmonic minor scale with a natural third.
Example 1: Harmonic major scale (major scale with b6, or harmonic minor scale with §3)
&œ
œ
œ
bœ
œ
œ
œ
œ
However, when the scale is harmonized, things aren't quite so simple. The triads and seventh chords that are formed are somewhat unusual, especially when considering that the basic sound of the tonic chord is major. major. There are two diminished triads surrounding the tonic chord above and below (the II and the VII) and two minor triads a half step apart (the III and IV). The VI chord, instead of being an A minor triad, is now Ab augmented.
Example 2: Harmonic major scale triads
C
& œœ
Dº
E-
F-
AϬ+
œœ
bœœ
œœ
bœœ
G
bœ
Bϼ
Cœ
œ
œ
The harmony is made more complex still with the addition of the seventh and the upper extensions. The only three seventh chords that remain the same as they are in the major scale are the I, III, and V. V. Each of these, however, is complicated by the Ab. This yields a b6 on the I major seventh chord, a b11 on the III minor seventh chord, and a b9 on the V dominant seventh chord. The II, IV, VI, and VII chords are all different from those in the major scale, and interestingly enough, give us one each of the other common seventh chords: a half diminished (II), a minor/ major seventh (IV), an augmented major seventh (VI), and a fully diminished (VII). Also, in each case, there are color tones that give a different sound than the usual harmonies of these chords as they are typically derived from the melodic and harmonic minor scales. Because the I, III, and V chords are also only represented once each, this means that every one of the seven most common seventh chords is represented in the harmonic major scale.
Example 3: Harmonic major scale seventh chords and color tones/upper extensions
C^
DØ
& œœ F F b F bœœ F F F 9 11 b13 ( b6)
9 11 13
E-7
œœ
A¨+^ Bº C^ b œ œ F bF F F bœœ F F F œœ bFF F bœ F F F œ F F œœ F F bF
b9 b11 b13 ( §3)
F-^ œ
G7œ
9 #11 13
b9
11 13
#9 #11 13
b9
11 b13
9 11 b13 ( b6)
Tom Lippincott
2
Example 4: Seven harmonic major fingerings by position (major mode names are listed in quotes for reference only)
=ROOT (C)
W
° & 44
b w œ œ œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ
"Lydian"
W W
¢ ⁄ ° &
3fr W
4fr W
6fr W
W
¢ ⁄ "Locrian" ° &
2
4
3
4
2
C D
E
F
G Ab B
C
D
2
4
3
2
5
3
1
5
4
5
3
4
E
5
1
2
F G
1
3
3
Ab 4
w b œ œ œ œ œ œ œ b œ œ œ œ œG b œA Bœ œC œD E F G A B C D E F G A B 1
2
4
1
2
4
1
2
3
3
4
1
2
4
2
3
1
2
3
4
b
7
3
5
3
7
5
6
4
b
4
5
7
5
6
7
1
3
4
1
3
4
1
2
4
4
1
3
1
2
4
b
7
8
5
7
5
8
6
1
3
4
7
8
b
9
5
7
5
6
8
4
w œ œ b œ œ œ œ œ œ œ b œ œ œ B œC œD œE œF G A B C D E F G A B C D 1
2
4
1
2
1
4
3
4
1
3
4
2
7
8
10
7
8
10
6
3
1
2
7
8
4
b
9
10
7
9
10
8
9
10
w œ œ œ b œ œ œ ° & œ œ œ œ œC œD œE œF œG bœA B C D E F G A
"Ionian" W8fr
1
b
¢ ⁄
W
3
1
b
W
W
G Ab B
4
2
1
w œ b œ œ ° & œ œ œ œ œ b œ œ b œA Bœ œC œD œE œF G A B C D E F G A B C
"Aeolian"
W
F
3
b
¢ ⁄
W
2
1
"Mixolydian" W
1
1
2
4
1
2
3
1
2
4
1
2
4
b
¢ ⁄
8
10
12
8
10
11 11
1
b
9
10
12
9
10
12
9
4
B 12
1
C
8
2
D
10
4
E
12
Tom Lippincott 3
w œ œ œ œ b œ œ œ ° œ œ œ œ b œ 10fr & œ œ œ œ D E F G A B C D E F G A B C D E F "Dorian"
W W
1
10
W
¢ ⁄
2
1
4
1
4
3
3
1
12
13
10
3
4
12
13
1
3
4
10
12
13
b
11
10
14
12
10
14
12
13
w œ œ œ œ ° & œ œ bœ œ œ œ œ œ œ b œ œ œ 11fr "Phrygian"
° &
4
b
¢ ⁄ W
3
4
¢ ⁄
1
2
4
E
F
G Ab
12
13
2
3
4
1
3
4
B
C
D
E
F G Ab B
1
11
15
1
2
1
14
12
15
14
12
15
C
12
13
13
4
2
1
4
D E
F
G
12
13
15
15
Example 5: Two alternate harmonic major fingerings
œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ 0
1
3
2
4
3
2
5
3
5
4
6
5
5
7
6
8
7
9
8
10
b œ œ œ œ œ œ œ b œ œ œ ° & œ œ œ œ b œ œ œ œ œ œ œ Example 5a:
¢ ⁄
7
8
10
7
8
10
9
11
10
9
12
10
12
12
13
13
12
15
13
15
16
Example 6. Sample patterns for gaining melodic fluency with the harmonic major scale Example 6a. Thirds
° & ¢ ⁄
œ œ œ œ œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ 7
10
8
7
10
8
7
10
8
6
10
9
6
10
9
7
10
9
7
10
9
8
10
9
8
7
9
8
7
10
8
Tom Lippincott
4
° & œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10
¢ ⁄
7
8
7
9
8
9
8
10
9
10
7
9
7
10
9
10
6
9
6
10
8
10
7
8
7
10
5
8
7
8
Example 6b. Rhythmic variations of thirds
> b œ œ > > > œ œ ° œ œ œ œ œ œ œ œ œ œ œ œ b œ b œ b œ œ œ œ & œ œ œ œ œ œ œœœœœ œ œœœœœ œ ¢ ⁄ ¢ ⁄ ° &
3
3
3
3
7 10 8
7
6
8 7 10 8
10
10
9
6 10 9
7
10
3
3
3
3
9 7 10 9
8
10
Etc.
Etc.
9
7
7 10 8
10
8
7 10
8
6
10
9
6 10 9
7
Example 6c. note variations of thirds: up one, down the next Example 6d. On one string
œ œ œ œ b œ œ œ œ œ œ ° & ° œ œ œ œ œ œ œ œ œ œ b œ œ & œ œ œ œ œ œ œ œ œ œ
Etc.
Etc.
¢ ⁄ ° & ¢ ⁄
7
7
10
8
8
10
10
7
6
8
9
10
6
7
10
¢ ⁄
9
0
3
1
5
3
6
5
8
6
9
8
12
9
13 12 15
œ œ œ œ œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ b œ œ œ œ œ œ œ œ œ œ Example 6e. Fourths
7
7
8
8
10
10
7
6
8
9
10
10
7
6
9
9
10
10
8
7
9
9
7 10
8
8
9
10
8
8
7
° & b œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œœœœ ¢ ⁄ 9
9
8
7
10
10
9
9
7
6
10
10
9
8
6
7
10
10
8
8
7
7
10
° & ¢ ⁄
Tom Lippincott 5
Example 6f. Seventh chords - up one, down the next
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ b œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ 7
6
8
10
9
10
7
8
10
6
8
7
10
9
10
7
6
8
10
9
10
7
9
6
10
8
9
10
9
10
7
9
œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ bœ œ œ œ œ œ œ œ ° & œ œ ¢ ⁄
10
7
8
9
8
9
10
7
9
7
8
10
8
9
10
7
9
10
8
7
9
10
7
9
6
8
9
10
10
7
9
10
° & œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ ˙ ¢ ⁄ 8
6
9
10
7
9
10
7
6
8
10
10
9
10
7
8
7
6
8
10
10
Example 6g: 7-note extended arpeggios
œ œ œ œ b œ b œ œ œ œ ° & œ œ œ œ œ bœ œ œ œ œ œ œ b œ œ œœ œ œœ ¢ ⁄
3
2
5
4
3
1
4
5
3
5
6
7
7
7
7
5
3
7
7
5
7
9
6
4
8 6
8
9
10
7
8
10
b œ œ œ œ œ œ œ œ ° & œ œ œ œ b œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ œ ¢ ⁄
10
9
12
10
7
7
7
9
8
12
11
10
14
12
12
10
13
14
12
15
13
7
13
12
15
15
14
17
16
15
13
16
Tom Lippincott
6
Example 7: C harmonic major scale diatonic seventh chords, close position, top 4 strings (play as both chords and arpeggios)
C^
7fr
DØ
8fr
E-7
10fr
F-^
° & œœ
b œœ
œœ
b œœ
7 8 9 10
8 9 10 12
10 12 12 14
12 13 13 15
¢ ⁄
G7
12fr
Ab+^
3fr
1 3 4 5
3 5 5 6
C^
4fr
7fr
œœ
b œœ
œ bœ
œœ
Bº
4 6 7 9
7 8 9 10
Example 8: C harmonic major scale diatonic 4-part-4th chords, close position, top 4 strings
C^š
7fr
DØsus E7 8fr
10fr
F-^ sus#4 G7“ 12fr
° & œœœ
b œœœ
b œœœ
n œœœ
7 8 10 10
8 9 12 12
10 12 13 14
12 13 16 15
¢ ⁄
Ab+^sus#4 Bºsus C^š
œœœ
4fr
3fr
b œœœ
1 3 5 5
œœœ
b œœœ
3 5 7 6
7fr
4 6 9 9
7 8 10 10
Example 9: C harmonic major scale diatonic 4-part-4th chords, close position 2nd inversion, top 4 strings
C^š
° & œœœ ¢ ⁄
1 1 4 5
DØsus
3fr
b œœœ 3 3 5 6
E7
bœœœ 4 5 7 9
4fr
F-^ sus#4 G7“ 6fr
8fr
Ab+^ sus#4 Bºsus C^š 12fr
9fr
œœœ
œœœ
b œœœ
b œœœ
œœœ
7 6 9 10
8 8 10 12
10 9 12 14
12 12 13 15
13 13 16 17
13fr
Tom Lippincott 7
Example 10: five-note 4-part-4th pattern
œ œ œ œ œ œ œ œ b œ b œ b œ œ œ œ œ ° & œ œ œ œ œ œ b œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5
5
¢ ⁄
3
1
4
5
1 5
5
6
5
5
3
3
6
7
9
4
5
7
6
9
9 10
5
5
10 12
8
8
10
12 14
Example 11. C harmonic major scale diatonic triads by position
C
Dº œ œ
° & œ œ œ œ œ œ œ œ ¢ ⁄ 7
8
9
10
10
8
8
E-
b œ œ œ b œ
12
13
G
10
9
10
12
œ œ œ œ œ œ
11
8
10
10
12
A¨+
5
12
10
12
13
14 15
12 15 17
F b œ œ œ œ œ b œ œ œ
14
14
9
5
12
12
12
15
16
13
13
16
13
13
œ œ b œ œ
13
15
15
11
13
C œ œ œ œ œ œ œ œ ° & œ œ œ œ œ œ b œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ ¢ ⁄ 2
3
4
5
5
3
3
7
8
Bº
4
5
5
6
7
3
4
5
7
8
9
6
7
Example 12: C harmonic major scale 5th and 5th pattern up the neck
œ œ œ œ œ œ œ œ ° & bœ œœ b œœ œ œœœ œœ bœ œ œœœ b œœœ œ œ œ œ œ œ b œ œ œ 3
3
3
3
¢ ⁄
1
3
5
1
5
3
7
3
5
6
4
6
3
3
3
8
4
7
9
5
8
3
3
10
7
8
10
7
3
3
9
12
8
10
12
9
12
13
10
14 11
10
13
7
10
12
8
8
9
10
10
7
“œ ” b œ œ “ ”œœ w œœ œœ œœ bœ 3
3
15
12
14
15
12
15
3
3
16
13
15
17
13
17
19
8
Tom Lippincott
8
Example. 13: Triads up and down the neck, top three strings, fifth on top
C
° & œœ ¢ ⁄
3 5 5
Dº
b œœ 4 6 7
E-
œœ 7 8 9
F-œ
Gœ
8 9 10
b œ
œ
A¨+ œ
b œ
Bºœ
œ
Cœœ
10 12 12
12 13 13
13 15 16
15 17 17
Bºœ
Cœ
16 17 17
19 18 19
20 20 21
A¨+ œ
Bºœ
Cœ
8 9 9
10 12 10
12 13 12
Bºœ
Cœ
12 10 12
13 12 14
Example 14: Triads up and down the neck, top three strings, root on top
C
° & œœ ¢ ⁄
8 8 9
Dº
b œœ 10 9 10
œœ
F-
b œœ
Gœ
12 12 12
13 13 13
15 15 16
E-
œ
bA¨+œœ
œ
œ
Example 15: Triads up and down the neck, top three strings, third on top
C
° & œœ ¢ ⁄
0 1 0
Dº
bœœ 1 3 1
E-
œœ 3 5 4
F-
Gœ
4 6 5
7 8 7
b œœ
Example 16: 2nd, 3rd, and 4th strings, root on top
C
° & œ œ ¢ ⁄
1 0 2
Dº
bœœ 3 1 3
E-
œœ 5 4 5
œ
F-
Gœ
6 5 6
8 7 9
bœœ
œ
b œ
bA¨+œœ 9 9 10
œ
œ
œ
œ
Tom Lippincott Example 17: Cycle 3 (chords moving up in diatonic thirds) using smooth voice leading. Notice the root of each triad always moves down one step to the 5th of the next triad. The other two voices remain stationary.
Example 17: Cycle 3 (strings 2-4 starting with 5th on top)
° & Cœœ ¢ ⁄
8 9 10
E-œ Gœ Bºœ Dºœ F-œ A¨+ C œ œ
œ œ œ bœ bœ bœ œ 8 9 9
8 7 9
6 7 9
6 7 6
6 5 6
5 5 6
5 5 5
Example 18: Cycle 4 using smooth voice leading. Notice the root of each triad always remains stationary, becoming the 5th of the next triad, and each of the other two voices each moves up a step. All examples should be repeated on other string sets and other inversions.
9
Example 18: Cycle 4 (strings 3-5 starting with Root on top)
° & Cœ bF-œœ œ ¢ ⁄ 5 5 7
5 6 8
Bº E-œ A¨+ Dº G C œ œ œ œ
œœ œ bœ bœ œ œ 7 9 8
9 9 10
9 10 11
10 12 11
12 12 14
12 14 15
Drop 2 and Drop 3 voicings Drop 2 and Drop 3 voicings are derived from close position seventh (or any other 4-note) chords. To create a drop 2 voicing, start with any close position seventh chord (any inversion), and drop the 2nd voice from the top down one octave. To create a drop 3 voicing, start with any close position seventh chord and drop the 3rd voice from the top down one ocave. The 1st, 2nd, and 3rd inversions of most drop 2 and drop 3 voicings are much easier to play on guitar than their close position counterparts.
Example 19: creating a drop 2 voicing
& ˙˙˙ CLOSE POSITION VOICING
C^
˙˙ ˙
DROP 2 VOICING
In example 19 above, a second inversion C major 7 in close position has the second note from the top dropped by an octave. The resulting chord is called a "drop 2" voicing. Notice that the drop 2 "version" has the root, C, on the bottom now. You can also see that this voicing is fairly easy to play on the guitar.
Example 20: creating a drop 3 voicing
˙ & ˙˙ CLOSE POSITION VOICING
C^7
8fr
˙˙ ˙ DROP 3 VOICING
In example 20 above, the third inversion of C major 7 in close position has the third note from the top dropped by an octave, giving us a "drop 3" voicing. This chord also ends up with the root as the bottom note. Notice that this chord is also, unlike its close position counterpart, fairly easy to play on the guitar.
The following four pages take the harmonic major scale and harmonize it through its seven diatonic chords, using drop 3 and drop 2 voicings in each of their four inversions (one inversion per page). All string sets are listed: top five and bottom five for drop 3, and top four, middle four, and bottom four for drop 2. A thorough study of all four pages will not only help with mastery of the harmonic major harmonies, but will also result in a thorough knowlege of every common seventh chord type since all seven are contained in the harmonic major scale.
Tom Lippincott 10
Chord Scales: all drop 2 and drop 3 seventh chord voicings diatonic to the harmonic major scale, all inversions, all string sets
Root position chords
Drop 3 from 6th string: R 735
F^
GØ
A-7
& b ww w
bww w
ww w
Drop 3 from 5th string: R 735
Bb^
w b b & ww
CØ
& b ww w
5fr
6fr
& b b www
E¨-^ 5fr
F7 6fr
w b b & b ww
8fr
ww w
ww bw
GØ
A-7
B¨-^
C7
D¨&^
b www
ww w
bww w
5fr
6fr
CØ
3fr
5fr
FØ
w bww
3fr
G-7
ww w
F7 6fr
A¨-^ 5fr
b ww w
G¨&^ 8fr
6fr
Bb7
ww w
9fr
8fr
C¨&^
ww bw
Bb^
11fr
13fr
ww w
Eº
F^
13fr
11fr
ww w
bwww Aº 9fr
Bb^
11fr
13fr
ww w
b www
ww bw
ww w
bww w
ww w
bwww
E¨-^
ww w Aº
9fr
13fr
11fr
w b ww
ww bw
ww w
bww w
D-7
8fr
F^
bwww
G¨&^
b ww w
Eº
9fr
ww bw
ww w
Drop 2 from 4th string: R573
Eb^
8fr
ww w
Drop 2 from 5th string: R573
Bb^
D¨&^
C7
bww w
D-7
Drop 2 from 6th string: R573
F^
B¨-^
Dº 9fr
b www
Eb^ 12fr
ww w
13fr
Tom Lippincott
1st inversion chords Drop 3 from 6th string: 3 R57
Eb^
& b bb www
FØ
G-7
bww w
ww w
Drop 3 from 5th string: 3 R57
B¨Ø
Ab^
w b b b b & ww
A¨-^
5fr
3fr
8fr
6fr
5fr
ww bw
ww w
w b ww
G-7
A¨-^
Bb7
C¨&^
b ww w
9fr
12fr
Ab^
13fr
ww w
b ww w
ww w
13fr
ww w Gº
8fr
6fr
12fr
b ww w F¨&^
Eb7
D¨-^
Eb^
Dº
9fr
w bww
ww w
ww b w C-7
C¨&^
Bb7
11
Drop 2 from 6th string: 37R5
Eb^
FØ
3fr
& b bb wwww bwwww B¨Ø
b w b w b b b w & ww www
6fr
C-7 3fr
D¨-^
5fr
w w & ww
DØ
bwww w
Eb7
6fr
8fr
wwww
b wwww F¨&^
13fr
12fr
9fr
Gº 9fr
Ab^ 12fr
wwww
w b www
wwww
b wwww
b wwww
wwww
E-7
F-^
G7
A¨&^
Bº
C^
Drop 2 from 4th string: 37R5
C^
8fr
www b www w w
www www w b w
Drop 2 from 5th string: 37R5
Ab^
5fr
Eb^
Dº
wwww
5fr
ww w b w
6fr
w www
8fr
b wwww
9fr
b wwww
12fr
w www
13fr
13fr
Tom Lippincott
2nd inversion chords
12 Drop 3 from 6th string: 5 37R
C^
DØ
E-7
5fr
F-^
Drop 3 from 5th string: 5 37R
F^
w w b & ww
GØ
6fr
A-7
3fr
www bw
8fr
B¨-^ 5fr
C7
13fr
12fr
9fr
www w
b www w
D¨&^
8fr
6fr
C^
Bº
b www w
www w
www b www w w
& wwww b wwww
A¨&^
G7
F^
Eº
13fr
12fr
9fr
www w
b wwww
www w
b www w
b www w
www w
E-7
F-^
G7
A¨&^
Bº
C^
Drop 2 from 6th string: 5R37
C^
DØ
ww b w
& www
5fr
6fr
9fr
12fr
10fr
ww w
b ww w
ww w
bwww
ww w
w bww
Am7
B¨-^
C7
D¨&^
14fr
Drop 2 from 5th string: 5R37
F^
& b www
GØ
3fr
5fr
Drop 2 from 4th string: 5R37
Bb^
w b & b ww
CØ
ww bw
D-7 4fr
ww w
9fr
E¨-^ 6fr
b www
F7 7fr
ww w
10fr
G¨&^ 10fr
w b ww
b ww w
14fr
ww w Aº
11fr
F^
12fr
b ww w
w bww
ww w
bwww
ww w
ww bw
6fr
Eº
13fr
Bb^
ww w
15fr
Tom Lippincott
3rd inversion chords
13
Drop 3 from 6th string: 7 5R3
Ab^
b b b & b www
B¨Ø
C-7
bwww
ww w
D¨-^
4fr
Eb7
5fr
Db^
E¨Ø
2fr
w w b b & b b b ww ∫ww
G¨-^
4fr
8fr
Ab7 5fr
Gº 9fr
A&^
8fr
ww w
∫ ww w
ww w
n www
C-7
D¨-^
Eb7
F¨&^
Ab^ 11fr
13fr
ww w
ww bw
b ww w
ww w
bww w
Drop 3 from 5th string: 7 5R3
F-7
F¨&^
Cº 9fr
Db^ 11fr
ww ∫w
ww w
Gº
Ab^
13fr
Drop 2 from 6th string: 735R
Ab^
B¨Ø
& b bb b ww
bww
2fr
5fr
6fr
ww
bww
ww
F-7
G¨-^
Ab7
Drop 2 from 5th string: 735R
Db^
& b bb bb ww
E¨Ø
5fr
6fr
8fr
A&^ 8fr
ww
ww
n ww
A-7
B¨-^
C7
D¨&^
w b &w
GØ
bww
ww
5fr
bww
6fr
ww
8fr
10fr
b ww
Db^ 11fr
Eº
ww b
13fr
ww
ww ∫ 9fr
13fr
ww Cº
Drop 2 from 4th string: 735R
F^
11fr
ww b
bww
∫ww
∫ww
9fr
F^
11fr
ww
13fr
Tom Lippincott
14
Practice of the preceding exercise will encourage fluency with the harmonic major sounds as well as muscle memory and visual patterns of where the notes in the scale lay on the neck. Special attention should be given to any of the chord voicings that are unfamiliar. These voicings can also be practiced by inversion up and down the neck along a particular set of strings, as in examples 19a and 19b below:
Example 19: Practicing voicings by inversion Example 19a: C half diminished (II chord from Bb harmonic major), Drop 2, middle four strings
CØ
5fr
8fr
Example 19b: F minor/major 7 (IV chord from C harmonic major), Drop 3, strings 2, 3, 4, and 6
F-^
6fr
11fr
° & b b bœœ b bœœœ b b bœœœ b b bœœ œ b œ
° & bœ nœœ bnœœœ n œœ b œ œ
¢ ⁄
¢ ⁄
4 3 4 3
7 5 8 6
11 8 10 9
13 11 13 13
9fr
b œœ nœ
1 1 2
5 5 3
6 9 6
9 10 10
1
4
8
12
Example 20 below shows cycle 3 using drop 3 voicings on strings 2, 3, 4, and 6. Notice that only one note has to move to yield the next chord in the cycle; the root moves up a step to become the 7th of the next chord.
Example 20: Cycle 3, C harmonic major
C^7
8fr
E-7
8fr
G7
8fr
Bº
9fr
DØ
9fr
F-^
9fr
A¨&^
9fr
C^
ww w
° & ww w
ww w
www w
¢ ⁄
8 9 9
8 9 9
8 10 9
9 10 9
9 10 10
9 10 10
9 12 10
12 12 10
8
10
10
10
10
12
12
12
b ww w
b ww w
b ww w
b www w
10fr
Tom Lippincott
15
Next, in example 21, drop 2 voicings on the middle four strings are taken through cycle 4. Notice that with cycle 4, the root and 3rd of each chord become the 5th and 7th of the next chord, and the other two voices each move down one diatonic step.
Example 21: Cycle 4, C harmonic major
C^
° & www ¢ ⁄
12 9 10 10
8fr
F-^
8fr
b ww w 9 9 10 8
Bº
E-7
7fr
b ww w
7fr
ww w
9 7 9 8
8 7 9 7
A¨&^
w bww
DØ
5fr
5fr
bwww
8 5 6 7
G7
6 5 6 5
C^
4fr
ww w
ww w
6 4 5 5
5 4 5 3
Below is a table to illustrate how the different modes of harmonic major can be applied by soloists and comping instruments as substitutions for other typical sounds. Harmonic Major Modes and Their Harmonies (C har monic major scale) Mode
Chord Tones
Upper Extensions
Chord Name
Uses
I
R, 3, 5, 7 C, E, G, B
9, 11, b13(#5) D, F, Ab
C∆
major sounds, augmented major seventh chords
II
R, b3, b5, b7 D, F, Ab, C
§9, 11, §13
Dø
II half diminished chords, particularly in a major key
R, b3(#9), 5, b7 E, G, B, D
b9, b11(§3), b13
E-7
sub for altered dominant (V chords in minor or major)
IV
R, b3, 5, §7 F, Ab, C, E
9, #11, 13 G, B, D
F-∆
any minor chords, particulary minor I or minor IV chords
V
R, 3, 5, b7 G, B, D, F
b9, 11, 13
G7
V7 chords, particularly in a major key
Ab+∆
major sounds, augmented major seventh chords, Iº chords
Bº
diminished chords
III
VI
VII
R, 3, #5, 7 Ab, C, E, G R, b3, b5, bb7 B, D, F, Ab
E, G, B
F, Ab, C
Ab, C, E #9, #11, 13
B, D, F b9, 11, b13
C, E, G
Tom Lippincott
16
John Coltrane's solo break from "On Green Dolphin Street" using E b harmonic major to imply Bb13b9
E¨^ b œ ° & b bb Œ ‰ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ ˙ J B¨7
Eb harmonic major scale
¢ ⁄
8
6
8
7
9
6
8
8
6
9
7
6
9
8
6
6
Example 22: Sample line over II half diminished, V7 b9, I major 7 progression
DØ œ œ G7¨9 C^ œ ° & b œ œ œ œ œ b œ œ œ œ œ œ œ bœ œ ™ œ bœ œ œ œ œ b œ œ œ ˙ J F- and E- triad pairs
C harmonic major scale
¢ ⁄
8
8
9
7
10
8
7
4
6
9
4
3
5
5
4
6
5
5
5
6
3 5
4
5
3
6
5
Example 23: Sample line over bVI7 V7 I- in C minor using G harmonic major (fourth mode) on the C minor chord
G7 Cœ ™ œ œ b œ œ ° & b bb œ œ bœ J œ œ bœœœ œ nœ#œ#œœ#œ œn œ œ# œ n œ œ n œ n œ œ#œ bœœœ œnœnœ w œœ A¨7
3
3
3
Db triad Eb mel min
¢ ⁄
10 13
11
11
10 13
9
9
10
11
11 8 10 6
3
3
B triad
Ab mel min 11
3
3
3
G harmonic major scale (C melodic minor #4) 9
8 9
7 9
7 8
7
11
10 8
7
10 8
7
8 7
10
7
9
7
Tom Lippincott
Example 24: Sample line in A minor using mode three over the dominant chord for "alternate altered" sound (also mode four is used on the minor I chord)
BØ# œ
E7alt
A-^ œ œ œ œ ° & ‰ J œ œ œ#œ œ ‰ œj bœ œ œ œ b œ œ œ œ œ ‰#œ œ œ œ œ#œ œ w 3
9
5
3
3
6
7
3
Ext. arp. C harmonic major scale (E altered §5)
D mel. minor
¢ ⁄
3
3
6
9
9
6 10
8
8
7 10 8
7
9
8
E harmonic major scale (A melodic minor #4) 6
5
4
5
4
5
4
7
6
7
Example 24a: Same line as above but in A major
B-7œ
E7alt
A^ œ œ n ° & ### ‰ J œ œ œ œ œ ‰ nœj bœnœ œnœ œ œ b œ œ œn œ œ# ‰# œ œ œ œ œ œ œ w 3
9
5
3
3
7
7
6
3
Ext. arp. C harmonic major scale (E altered §5)
A maj. (B dorian)
¢ ⁄
3
3
9
6 10
8
9
8
7 10
8
7
9
E major scale (A lydian) 8
6
5
4
6
4
6
4
7
6
7
Example 25: Comparison of C harmonic major and F melodic minor
& œ œ œ œ œ bœ œ œ
& œ œ œ œ œ bœ bœ œ F melodic minor (starting on C)
C harmonic major
Example 26: Sample line using mode VI for delayed resolution in the I chord
B¨Ø
E¨7 A¨^[A¨º] A¨^ œ œ ° & b bb b b œ œ œ œ b œ œ œ bœ œ œ œ œ œ œ bœnœ œnœnœ œ œ œ œn œ œnœ bœ œ ˙ œ 3
3
3
5ths Ext. arp. pattern Ab harmonic major scale
¢ ⁄
6
7
10
6
9
11
8
5
4 6
5 8
6
Ab major
C harmonic major (Ab+∆#9#11) 5
8
5
6
4
5
3
5
6
3
4
7
4
3
6
4
5
17
Tom Lippincott
18
Example 27: Use of mode VII on a I diminished chord delayed resolution (chords using open strings)
C©-9
6fr
° & ##### www w
F©13(b9)
8fr
nwww
B^9
5fr
n bnwwww
C harmonic major (7th mode)
0 0 8 6
¢ ⁄
Bº
0 8 8 8 9
9
0 0 0 6 5 7
6fr
www 0 6 8 6 7
Example 28: Chord changes to the standard "Stella By Starlight" by Victor Young with basic harmonic analysis
EØ
A7
C-7
F7
& V V V V V V V V V V V V V V V V G melodic minor scale Bb melodic minor scale (E locrian §2) (A altered) II V in D minor (D harmonic minor)
F-7
F# melodic minor scale (F altered) II V in Bb major (Bb major scale)
B¨7
E¨^
A¨7[E¨-^]
B melodic minor scale (Bb altered)
Bb major scale (Eb lydian)
IV minor of Bb major Eb melodic minor (Ab lydian dominant)
D-7
E¨7[B¨-^]
& V V V V V V V V V V V V V V V V II V I in Eb major (Eb major scale)
B¨^
EØ
A7
& V V V V V V V V V V V V V V V V F major scale (Bb lydian)
Bb major scale
F^
G mel
Bb mel
II V in D minor (D harmonic minor)
EØ
A7
I in D minor (D aeolian)
AØ
IV minor of F major Bb melodic minor (Eb lydian dominant)
D7
& V V V V V V V V V V V V V V V V F major scale (F ionian)
G mel Bb mel II V in D minor (D harmonic minor)
C mel (A locrian §2) Eb mel (D altered) II V in G minor (G harmonic minor)
Tom Lippincott 19
G7
C-7
& V V V V V V V V V V V V V V V V Ab melodic minor scale (G altered) V in C minor (C harmonic minor)
A¨7[E¨-^]
C dorian, C melodic minor I in C minor (C aeolian)
B¨º
B¨^
& V V V V V V V V V V V V V V V V IV minor of Bb major Eb melodic minor (Ab lydian dominant)
EØ
A7
Bb major
I diminished (Bb dim scale)
DØ
G7
& V V V V V V V V V V V V V V V V G melodic minor scale Bb melodic minor scale (E locrian §2) (A altered) II V in D minor (D harmonic minor)
CØ
F7
F melodic minor scale Ab melodic minor scale (D locrian §2) (G altered) II V in C minor (C harmonic minor)
B¨^
& V V V V V V V V V V V V V V V V Eb melodic minor scale F# melodic minor scale (F altered) (C locrian §2) II V in Bb minor (Bb harmonic minor)
Bb major
Example 29: Stella changes with harmonic major mode usage indicated
EØ
A7
C-7[CØ]
F7
& V V V V V V V V V V V V V V V V Bb harmonic major (2nd mode)
D harmonic major scale F harmonic major (2nd mode) (3rd mode)
F-7[FØ]
B¨7
E¨^
A¨7[E¨-^]
Eb harmonic major (5th mode)
Eb harmonic major
Bb harmonic major (4th mode)
& V V V V V V V V V V V V V V V V Eb harmonic major (2nd mode)
Tom Lippincott
20
B¨^
[EØ]
A7
D-7
E¨7[B¨-^]
& V V V V V V V V V V V V V V V V Bb harmonic major
F^
F harmonic major (3rd mode)
[EØ]
A7
A harmonic major (4th mode)
AØ
F harmonic major (4th mode)
D7
& V V V V V V V V V V V V V V V V F harmonic major
F harmonic major (3rd mode)
G7
G harmonic major (2nd mode)
Bb harmonic major (3rd mode)
C-7
& V V V V V V V V V V V V V V V V Eb harmonic major (3rd mode)
A¨7[E¨-^]
G harmonic major (4th mode)
B¨º
B¨^
& V V V V V V V V V V V V V V V V Bb harmonic major (4th mode)
D harmonic major (6th mode)
Bb harmonic major
EØ
A7
DØ
G7
D harmonic major (2nd mode)
F harmonic major (3rd mode)
C harmonic major (2nd mode)
Eb harmonic major (3rd mode)
CØ
F7
Bb harmonic major (2nd mode)
Db harmonic major (3rd mode)
& V V V V V V V V V V V V V V V V B¨^
& V V V V V V V V V V V V V V V V Bb harmonic major
Tom Lippincott 21
Example 30: Single note etude on Stella changes using harmonic major sounds
EØ œ
A7 C-7[CØ] œ F7 œ ™ œ œ # œ b œ ° & b b œ œ #œ nœ œ œ b œ œ œ œn bœ œ œ œ œ œ œ œ œ œ bœJ ‰J 4ths pattern D harmonic major scale (2nd mode)
¢ ⁄
10
10
8
9
6
7
Bb harmonic major (2nd mode)
F harmonic major (3rd mode)
5
5
5-note 4-part-4ths pattern
8
6
6
5
9
8
6
7
F-7[FØ] œ b œ
8
8
10
6
6
10
3
3
3
3
7th chord arpeggios Eb harmonic major (2nd mode)
¢ ⁄
11
7
9
10 6 10
8
4
8
B¨^
Gb+∆ arp.
4-part-4th
Eb harmonic major (5th mode) 7
6
6
3
7
4
[EØ]
4 3
6
5
6
4
10
œJ bœ œ œ œ œ bœ œ œ
3
3
8
A¨7[E¨-^]
3
3
10
12
B¨7 E¨^ œ œ b ° & b b b œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ œ b œ œ œ ™
7
Eb harmonic major Bb harmonic major (4th mode) 3
3
6
7
6
4
3
6
7
6
3
3
2
4
3
6
A7
D-7 E¨7[B¨-^] œ n œ b œ b œ œ # œ œ œ œ # œ œ n œ j ° & b b ‰ b jœ œ n œ œ n b œ œ J b œ œ œ œ œ œ J J ˙ œ œ b œ œ 3
3
3
2-notes-per-string Db+∆ arp.
2 symmetrical 4-part-4th patterns
Bb harmonic major F harmonic major (3rd mode)
¢ ⁄
5
4
3
5
3
4
3
7
5
6
6 10
A harmonic major (4th mode) 8
9
13
12
9
9
F harmonic major (4th mode) 9
10
9
12
8
5
5
6
5
8
7
Tom Lippincott 22
F^ ° & b b ˙
‰ œj b œ œnœ 3
œ œn œ A7œ [EØ] œ œ œ
b œ D7 œ œ œ n œ œ œ œ œ b œ # œ œ œ bœ œ œ œ œ œ œ œ œ œ
3
3
8
9
12
14
10
13
15
12
13
14
3
3
3
5-note 4-part-4ths pattern
F harmonic major (3rd mode)
F harmonic major
3
3
Db+∆ arp.
5th and 5th pattern
¢ ⁄
AØ
Bb harmonic major (3rd mode)
G harmonic major (2nd mode)
15 11 10
10
7
8
7 10 12
11
8
8
12 13
G7œ
11
10
10 13 15
14
11
11 10
C-7 b œ œ ™ œ n œ œ b œ œ œ œ œ n œ b œ b œ œ œ # œ ° & b b œ œ œ b œ bœ œ œ # œ J n œ œn œ b œ n œ #œ#œ 3
3
G- and Ab- triad pairs
B major triad
Eb harmonic major (3rd mode)
¢ ⁄
11
10
7
12
9
7
6
8
Eb harm maj (Cb, 6th mode)
6
8
4
7
4
4
6
A¨7[E¨-^] œ œ
5
6
B¨º
5
7
6
G harmonic major (4th mode)
6
7
8
9
9
7
7
11
10
11
B¨^ # œ œ œ œ # œ œ # n œ ° & b b œ b œ œ œ œ œ œ b œ œ # œ œ œ b œ œ ˙ # œ œ œ œ œ œ 4
D- and Eb- triad pairs
3
3 2
¢ ⁄
11
10
11
10
8
7
8
7
9
8
5
4 2 1 3
F#- arp. Bb harmonic major
D harmonic major (6th mode)
6
5
4
3
3 2 1 1
3
D+∆ arp.
Bb harmonic major (4th mode) 10
4 1 1
2
2
5
9
6
5
7
6
5
4
3
Tom Lippincott
23
EØ
A7œ œ DØ G7 œ œ œ n œ n œ œ œ œ œ œ œ œ b œ ‰ bœnœ œ œ b œ œ œ œ b œ œ b œ œ œ ° & b b ‰ j œ œ# nœ œ 3
3
D harmonic major (2nd mode)
¢ ⁄
12
13
16
12
15
3
3
extended arp.
5th and 5th pattern
F harmonic major (3rd mode)
17
15
12
13
14
Ab+∆ arp.
5th and 5th pattern
Eb harmonic major (3rd mode)
C harmonic major (2nd mode)
13
14
15
11 10
11
14
13
10
15
12
13
9
12
8
7
9
8
œ w œ œ ° & b b b jœ œ œ œ œ œ œ œJ œ œ œ œ œ œ œ bœ œ œ œ J œ œ bœ œ œJ œ œ J CØ
3
3
F7
3
3
B¨^ œœ
3
3
3
3
3
3
3
3
7th chord pattern grouped in fives Bb harmonic major (2nd mode)
¢ ⁄
4
6
3
3 8
7
5
Bb harmonic major (5th mode) 4 9
8
7
6 7
5
4
Bb harmonic major
2 8
7
6
5 10
8
7
6 12
10
10
8
13
Traditional color tone replacement chart for 4-note chords Chord Tone
Major 7
Dom. 7
Minor 7
Half Dim.
R
9
9, b9, #9
9
9
3
—
4 (for sus4)
(11)
(11)
#11, 13, 13
11, (13)
—
6 (for min6 chord)
—
5
#11, 13
7
6 (for 6th chord)
—
6
5
8
Tom Lippincott 24
The preceding chart is meant only as a rough guide for replacing chord tones with color tones with drop 2, drop 3, and other types of voicings. Because the harmonic major scale tends to be used in modern settings, many of these rules can be broken since more dissonance tends to be tolerated in this case. A more general rule might be to replace one of the chord tones with a color tone that is a step above or below the note in question. Rather than replacing a chord tone, in many cases a color tone can be added as a fifth note to a four note chord by finding a convenient unused string where the color tone is within reach. Many of the chord voicings in the Stella chord etude (example 32) use this technique. Also, open strings can be a valuable tool for adding color tones and generally getting more varied chord voicings. The close, drop 2, and drop 3 voicings can be modified to add one or more open strings. Many of the voicings in example 32 also use this idea. Another useful technique for varying chord voicings, the "replacement" concept, is outlined below in example 31. Note the inclusion of the names Mick Goodrick uses for each of these chord types in his voice leading almanac series of books.
Example 31: "replacement" concept: A few variations of B b major 7 original chord
replace 3rd with 4th
B¨^
replace 3rd with 2nd
B¨^š
replace 5th with 6th
B¨^9‘–Ú
B¨^„ˆˆ13
Chord symbol
notation
° & b b www
° & b b ww
B¨^
Goodrick name
B¨^sus
Seventh chord
¢ ⁄
° & b b wwww
F/B¨
4-part-4th
5 3 3 3
¢ ⁄
° & b b www
G-/A
Triad over bass I
5 4 3 3
¢ ⁄
Triad over bass II
5 1 3 3
5 3 3 5
¢ ⁄
Example 32: Stella comping/chord etude using chord voicings derived from the harmonic major scale
G-^ B¨&^ chord
chord description harmonic major scale Basic harmony
° & b b #œœ ™ ™™
# bœœ J
5fr
˙˙
7th chord close D harmonic major (2nd mode)
EØ
¢ ⁄
2 3 3 5
5 7 7 8
Eºsus C7“ 5fr
n#œœœ ™ ™™
œœœJ
˙˙˙
4-part-4th close 2nd inversion F harmonic major (3rd mode)
A7 5 5 6 8
1 1 3 5
CØ
D-7
CØ
‰ bœœœœ
œœœœJ
œœœ œœ œJ bœ
drop 2
4fr
CØ
œœ J
Bb harmonic major (2nd mode)
C-7[CØ] 2 1 3 1
5 3 5 3
6 4 5 4
8 7 8 8
7fr
Tom Lippincott 25
F13(b9)
° & b b œœ ™ ™ ™
b œœœ J
7fr
œœ œJ
F13(b9)
FØ
6fr
6fr
œww ™
jœ bœœ
œœ
drop 2 w/color tones
E¨^9
° & b b
7 7 7 6
6 0 6 6
œœ ™ ™ ™
œœ J
5 4 3 3
7 7 7 6
B¨^ [¨6] D¨&^#9 D¨&^#9 D-^ 4fr
œœ ™ ™ œ ™
close w/open str.
nœœœ œœœ ™ ™ bœJ œ ™
0 1 2 3 4
[EØ]
6 6 5 4
5fr
.nœj #n œœ ‰
drop 2 drop 2 w/open str.
0 6 5 7 4
D-^#11
5fr
¿ œ n œ ™ jœ #œ #œ ‰
let ring
3
drop 2 w/open str.
A harmonic major (4th mode)
F harmonic major (3rd mode)
Bb harmonic major
1 3 2 4 1
4fr
A¨7[E¨-^]
° & b b œœœœ. ‰ bœœœj œœœ ™ ™ nœœj œ œ ™ b œ ¢ ⁄
œœ J
bœœ
6 5 4 5
drop 3 w/color
CØ sus
Bb harmonic major (4th mode)
6 6 0 0 6
5 3 5 3
6 0 0 6 5
4-part-4th drop 2 2nd inversion
E¨^
B¨^
B¨7
6fr
j œ bœ
Eb harmonic major
drop 2
Eb harmonic major (5th mode)
0
4fr
w ww
D-7
modified drop 2 with open strings
G¨&^sus#4 Aº sus B¨^š
6fr
5fr
wnw b ww
nœj ˙
F-7[FØ]
modified drop 3 with open strings
¢ ⁄
6fr
Eb harmonic major (2nd mode)
10 7 8 7
¢ ⁄
B¨13(b9)
modified drop 2 with open strings
Db harmonic major (3rd mode)
F7
FØ
A7
D-7 6 6 7 5
5
6
6
6
0
Tom Lippincott
26
GØ
5fr
B¨-^
° & b bb nœœœ ™ ™ œœœ œ ™ bœJ
F^9
8fr
˙˙ ˙
6
9
AØ
D7#9
AØ
D7
10 0 8 10 10
8fr
G7½
8fr
G7½
6fr
drop 2
modified drop 2 open string with open strings voicing Eb harmonic major (3rd mode)
G7 0 8 8 8
6 0 0 6 8
0 11 10 11 10
A7
9fr
œj
˙
drop 2&4 with color tones
Bb harmonic major (3rd mode)
10 10 10 10 9
° & b bb bœœœ ™ ™ ™ b œœœ œœœ ™ ™ ™ bnœœœ www J J ¢ ⁄
9fr
drop 2&4 with color tone
G harmonic major (2nd mode)
9 8 9 8
D7[ì ðî Ó]
œw ™ ™ #w
modified drop 2 with open strings
FØ
0 8 6 8 8
8 5 7 7
8
˙˙˙˙
F harmonic major (3rd mode)
[EØ]
0 6 0 7
8fr
œœœœ J
10fr
drop 2 drop 2 w/open str. w/open str.
F^
w ° & b b nwww ¢ ⁄
drop 2
GØ
6fr
bn œœœ ™ ™™
F harmonic major
E¨7[B¨-^]
¢ ⁄
GØ
5fr
œ ‰ nœœ ™ ™™
drop 3 w/open str.
F harmonic major (4th mode) 0 10 10 8
6fr
n˙˙˙˙ ˙
drop 3 drop 3 w/open str. w/open str.
0 6 6 5
A-7
11 11
C-^ (6) C-^#11 5fr
œnœ ™ ™ œœ ™™
6fr
#n œœ Œ œJ
open string open string voicing voicing
C-7 5 0 0 0 6
G^ [¨6]
10fr
œœœ n # ‰ œJ
drop 3 w/color
G harmonic major (4th mode) 7 7 0 0 6
10 12 11 13 10
Tom Lippincott
E¨-^
° & b b wwww
G¨&^
6fr
œ ‰ bœœJ Œ
b˙˙ ˙ drop 2
drop 2
6 6 7 4
7 7 8 6
D^ [¨6]
D harmonic major (6th mode)
Bb harmonic major
° & b b œœœ ™ ™ ™
œ#œ œJ drop 2
F harmonic major (3rd mode)
A7
¢ ⁄
13 10 11 12
drop 2
7 3 5 5
DØ[ª9]
F-^9
5fr
n bnœœœœ J
drop 2
drop 2
œœœ ™ ™ œ ™
10 7 8 9
8fr
bn œœ œœ ™ ™ ™ œJ œ
drop 2 modified drop 2 w/open str. w/open str. C harmonic major (2nd mode) 0 6 5 6 5
6fr
EØ
5 6 5 8 5
œœ ™ ™ ™ œ ™
7fr
D harmonic major (2nd mode)
B¨^
10fr
3fr
B¨&^ B¨-^
j ™ œ n œ # œ ™ œ b ‰ œœ Œ #œ ™ n œœJ
drop 3 w/color
D¨&^
8 10 10 8 9
G-^
drop 3 w/color
5 7 6 8 5
˙˙ ˙
shell voicing w/colors
5 6 7 4
° & b b ‰ ## œœœ Œ œœœ ™ ™ nnœœœ www œJ œ ™ œJ w 5 7 6 8 5
œœ œJ
drop 2 w/colors
5fr
B¨º
8fr
œœ ™ ™™ bœ
D-7 [¨6]
5fr
¢ ⁄
4fr
Bb harmonic major (4th mode)
A¨7[E¨-^]
¢ ⁄
4fr
27
E¨-^#11 G¨^[åÅ]
DØ
0 9 0 10 8
10 6 8 8
Dº sus
3fr
n b œœJœ 4-part-4th close 2nd inversion
3 3 4 6
E¨^š
28
4fr
Tom Lippincott
FØsus
E¨-^(6)
6fr
8fr
œœœ œœœœ ™ ™ œ ‰ b Jœ Œ œ ™
° & b b œœœ bœœœ b œœœ ˙˙˙ J J
4-part-4th close 2nd inversion
drop 2 w/color Bb harmonic major (2nd mode)
Eb harmonic major (3rd mode)
G7 4 4 7 8
¢ ⁄
CØ
6 6 8 9
B¨^ [¨6]
8fr
° & b b œœœ ™ ™ œ ™ B¨^
¢ ⁄
b œœœ J
drop 3 w/color
10 10 11 8 8
F13(b9)
œœœ ™ ™ ™ ™
8 11 8 12 9
8 11 8 12 9
œœœ œJ
8fr
œœœ b œœ œœ ™ ™ œ ‰ œJ œ ™ ™ F7
B¨„ˆˆ9 [¨6] 11fr
TBII (Cø) w/color Bb harmonic major 13 13 11 12 13
6fr
drop 3 drop 2 w/color w/colors Bb harmonic major (5th mode)
8 10 8 12 9
n bn œœ œJ
F13(b9)
ww w
8 7 7 7 6
D-7[¨6]
5fr
œœœ œJ
drop 3 w/color
5 6 5 8 5
