Out of all of Barry Harris‘ half-step rules, the ones for minor scales seem to be least discussed and documented, which is a shame because they are quite interesting.
In this blog post, we’ll be going over his half-step rules for melodic minor as well as harmonic minor scales as well as some extra rules that can be used to spruce up your improvisation.
Let’s begin!
Minor Scales
In music theory, a minor scale is any scale that contains at least the following three scale degrees:
- Tonic
- Minor 3rd above the tonic
- Perfect 5th above the tonic
These three notes form a minor triad.
It is also important to note that there are three different types of minor scales:
- Natural: Derived from the major scale (also known as the aeolian mode)
- Melodic: Similar to a major scale but has a flattened 3rd.
- Harmonic: Similar to natural minor but has a raised 7th.
The descending half-step rules that we will discuss today will be for the melodic and harmonic minor scales. It is important to note that the half-steps serve as rhythmic placeholders, and that any note that sounds good can be a half-step!
Harmonic Minor Half-Step Rules
1-3-5-7
One Half-Step: Similar to the dominant 7 scale rules, when descending from 1-3-5-7, you can place a half-step between the tonic and 7th. However, in the harmonic minor scale, there is no actual half-step note between the tonic and the 7th. In this case, the half step note will become the note above the tonic (or any note of your choice). Here is an example in C harmonic minor:
3-5-7
Three Half- Steps: When descending from the 3rd, 5th and 7th scale degrees, you can place 3 half-steps between the 1st and 7th, 3rd and 2nd, and 2nd and 1st. Just like the 1st and 7th, there is no actual half-step between the 3rd and 2nd, so the half-step note will end up being the 4th. Here’s an example starting on the 3rd.
2-4-6
No Half-steps: When descending from the 2nd, 4th and 6th scale degrees, you don’t have to play any half-steps.
Two Half-steps:.. Or you could also place 2 half-steps between the 2nd and 1st and 1st and 7th.
Extra Rules
Triad Rule: If you play a triad, you can follow the half-step rule(s) for the first note of the triad. In this example below, I played the triad found on the 2nd degree of the scale so I followed the no half-step rule when descending.
“Run Up” Rule: If you start on any note of the scale and “run up” to a next note before you descend, you will follow the rule for the first note. In this example, we will run up to the third from C and descend using the half-step rule for C.
The Thirds Rule: If you start on any scale degree and skip up a third, you should follow the rule(s) that apply for note you play right after. For example, if I start on Eb, skip up a 3rd to G, and descend from there, I will follow the rule for the note after Eb, which, in this case is F.
Melodic Minor Half-Step Rules
The melodic minor rules are quite similar to the major scale half-step rules, with a few minor changes. Let’s go through them.
1-3-5-7
One half-step: When descending from these scale degrees, you can add one half-step between the 6th and 5th.
Three half-steps: You could also place 3 half-steps between 3rd and 2nd, 2nd and 1st, and 6th and 5th.
3-5-7
For these scale degrees, you can place 3 half-steps between the 3rd and 2nd, 7th and 6th, 6th and 5th.
2-4-6
No half-steps.
Two half-steps: You can place two half-steps between the 2nd and root and 6th and 5th.
Conclusion
These half-step rules are an invaluable tool in developing your improvisation skills. The possibilities are endless, and become even more endless when you mix them with other improvisational approaches and tools such as enclosures, surrounds, and pivoting.
It is important for you to spend as much time as you need going through them, until they naturally come through in your playing. Experiment, write solos using the rules, or just transcribing musicians from the bebop era that make use of these rules to see how they put their ideas together.
Have fun and enjoy the learning process.
Happy practicing!
