Harmonic Minor Dominant Lines

In this lesson I want to show how I might use harmonic minor on the dominant in a II V I resolving to a major tonic. This is a very useful way to apply this scale to get a surprising sound on the dominant in a major cadence.

The II V I cadence

Let’s first look at the cadence. In this lesson I am using a II V I in the key of G major, so the chrods are Am7 D7 Gmaj7.

For the Am7 and Gmaj7 chord I use the G major scale which in the 10th position would be this.

Harmonic minor dominant lines ex 1

For the dominant, D7, I play that as if I was in the key of G minor, so I use the G harmonic minor scale which in the 10th fret would be this:

Harmonic minor dominant lines ex 2

You’ll notice that the G minor harmonic scale is the G major with a flatted 3rd and 6th degree, giving us the b9(Eb) and b13(Bb) on the D7.

The lines

The first example uses a trill and a scale fragment on the Am7. On the D7 the line is base around an Eb minor triad. The Ebminor triad is not really diatonic to G harmonic minor, but since you have both a G and an F# you can construct it.

Harmonic minor dominant lines ex 3

The line ascends up the triad and then resolves to the 3rd(B) of Gmaj7

The next example uses the diminished arpeggio which, to me, is the stereotype sound or a D7 from G harmonic minor.

Harmonic minor dominant lines ex 4

The line on the Am7 is a Cmaj7 arpeggio followed by a stack of fourths from A. The line on the D7 consists of an F# dim arpeggio followed by a chromatic encircling that resolves to the 3rd of GMaj7.

Another very useful device in the D7(b9b13) repertoire is the augmented triad. In the scale the triad is found on the 3rd of the scale which in the key of G would be a Bb. SInce I mostly use it on a D7 I guess I tend to think of it as a D augmented triad. Of course it is that too since the augmented triad is symmetrical.

Harmonic minor dominant lines ex 5

On the Am7 I start out with an encircling of the root which is then followed by a Cmaj7 arpeggio.  The line on the D7 is build from the Bb augmented triad followed by a scale run that resolves to the 5th(D) of G.

A good way to create interesting lines is to combine triads in pairs. I have written a few articles about this subject they can be found on the list here: Online lessons

In this case I am using the D and Eb major triads which give you a good set of notes to convey the D7(b9b13) sound.
Harmonic minor dominant lines ex 6

The line on the Am7 is a combination of two arpeggios. Am7 followed by an Em7 arpeggio. The D7 line connects the Eb and D triads and resolves via the b9 and b7 to the 5th of G.

The last example makes use of the diatonic chord on the 3rd degree of the scale, so in this case a BbMaj7#5.

Harmonic minor dominant lines ex 7

The Am7 line is a combination of a C major triad and an Asus4 triad, both good devices for that sound. On the D7 I start of with a melodic fragment that to me sounds like a dim chord (I don’t actually have a name for it though) and then I descend down the BbMaj7#5 arpeggio and resolve to the 3rd of G.

I hope that you can use the material I presented hear in you own improvisations and that you get some new ideas and melodic devices to use over a b9b13 dominant chord.

As always you can download a PDF of the examples here:

Harmonic minor dominant lines

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