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We’ll do this whenever possible for each of the seven scales extracted from the harmonic minor mode system. We’ll accomplish this by finding which church mode is the closest to the harmonic minor mode and alter it. Let’s name them in a way that they relate to those church modes. The seven modes of the harmonic minor scale are very close to the church modes (only one note changes between the harmonic minor and Aeolian modes). Before going further, we’ll name the seven modes of the harmonic minor system. For example, a chord made of a Root, minor 3rd, 5th and minor 7th will fit the fourth mode. The previous formulas will help us match the modes with their corresponding chords.

Root - min 2nd - min 3rd - dim 4th - dim 5th - min 6th - dim 7th Root - aug 2nd - Maj 3rd - aug 4th - 5th - Maj 6th - Maj 7th Root - min 2nd - Maj 3rd - 4th - 5th - min 6th - min 7th Root - Maj 2nd - min 3rd - aug 4th - 5th - Maj 6th - min 7th Root - Maj 2nd - Maj 3rd - 4th - aug 5th - Maj 6th - Maj 7th Root - min 2nd - min 3rd - 4th - dim 5th - Maj 6th - min 7th Root - Maj 2nd - min 3rd - 4th - 5th - min 6th - Maj 7th You are right, to really differentiate these scales from one another we need to consider their formula as follow: If you are new to modes, you might be wondering why bother with the previous demonstration as all the scales written use the same notes. If we follow the same logic we get seven modes each starting with one of the seven notes of the original harmonic minor scale: The previous scale is the second mode found in the harmonic mode system. Let’s now play the same exact notes starting from the B note: About Modes and Systemsīefore moving forward, it’s important to understand how modes fit in a system (church modes, harmonic minor modes, melodic minor modes, etc.) This also explains why it is often possible to borrow a mode from the harmonic minor family to phrase over a chord progression that would normally call for a church mode. This will explain the similarities you will find in the names of the harmonic minor modes and the church modes. It is important to realize that only one note differs from both scales. It is minor in the natural minor scale (Aeolian). The 7th is Major in the harmonic minor scale. Only the 7th changes between both scales. Root - Major 2nd - min 3rd - 4th - 5th - min 6th - minor 7th Notice how that scale is very similar to the natural minor scale (Aeolian): Here is how that scale can be played in its first position starting from an A note: Root - Major 2nd - min 3rd - 4th - 5th - min 6th - Major 7th

Let’s take a look at the formula of the harmonic minor scale: As you would have guessed, the harmonic minor mode is a minor scale: it has a minor third. Harmonic Minor Scaleīefore talking about all the modes that are part of the harmonic minor scale, let’s discuss and define the scale from which all these modes are extracted.

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This article will help you understand the logic behind their names and give you an insight on how to use these exotic scales in your music. The problem lies in the fact that those modes can have more than one name. You might be confused about their use and about their names. Overall, I watched this with a sense of disappointment, because there was enough promise to raise one’s hopes but too many deficiencies makes this a missed opportunity.If you’ve been playing modal for a while, you probably have heard about the harmonic minor modes. There is also a lack of narrative thread to keep our attention, the events are too random and incidental to contribute to a rounded whole. The make-up artist (Colmax regular Colette Xais) was given too much freedom: Helen Shirley’s face looks as if she had fallen into a barrel with red paint, and Yoko’s final makeover goes so far that it disrupts the feel of continuity.įinally, the writing is a bit superficial – the characters appear too shallow, we do not engage with them. The ‘special-effect’ of turning a woman Milton copulates with into his deceased wife is more embarrassing than special (it was a bad idea to start with). Yves Callas fares a bit better, but Yoko is completely out of her depth.Ĭoncerning production values, this was shot on video which makes everything appear rather two-dimensional. This is all well-intended but the execution falls short on too many levels: acting, production values, writing.Īlban Ceray (who plays the lead character Milton) has shown in the past that he can handle comedic acting, but this requires dramatic, even melodramatic aptitude, and he seems at a loss of what to do. This film is different, because it follows a dramatic story (about a man who lost his wife in an accident who now finds it difficult to relate to other women) and even ‘sacrifices’ sex scenes for plot development. Most pornographic films just contain wall-to-wall sex with very little plot to hold things together or even to explain the frequent intercourse.