The minor II-V-I sequence is equivalent to the major II-V-I sequence, but played in minor harmonic key. It is a must know for any guitarist who wants to learn to solo over tunes in minor keys.
The double harmonic major scale is also know as Byzantine scale, Ionian flat 2 flat 6, Flamenco mode, Major Romani and Gipsy major. It is made of seven pitches (heptatonic) giving the interval pattern :
The mixo-blues scale can be confusing because of its different names. Indeed, it can also be called Mixolydian blues scale or mixo-Dorian blues scale or even mixolydian / blues hybrid scale. Anyway the result is the same, this scale is a combination of the minor blues scale (1-b3-4-b5-5-b7)
The Mixolydian b2 scale also called Harmonic Minor Inverse is the 5th mode of the harmonic major scale. It is sometimes referred to as Dominant b2 mode or Mixolydian b9. The interval pattern is tonic (1) – minor second (b2) – major third (3) – perfect fourth (4) – perfect fifth (5) – major sixth (6) and minor seventh (b7). Mixolydian b2 Mode
The Lydian b3 mode also known as Lydian flat 3, Lydian Minor, Melodic Minor Sharp 4 or Lydian diminished, is the fourth mode of the harmonic major scale. It is built with the following interval pattern
This lesson is about the Phrygian (b4) scale aka Phrygian b11 or Indian scale or Phrygian diminished 11 known as the third mode of the Harmonic major scale. It is made up of a root (1), minor second (b2), minor third (b3), flat fourth (b4), perfect fifth (5), minor sixth (b6) and minor seventh (b7). Phrygian b4 mode
The Dorian b5 scale also referred to as Dorian Diminished or Locrian #2 #6, is the second mode of the harmonic major scale. This is a minor scale built with root (1), second (2), minor third (b3), fourth (4), diminished fifth (b5), sixth (6) and minor seventh (b7).
The harmonic major scale as Ionian b6 mode or Ethiopian scale (1 – 2 – 3 – 4 – 5 – b6 – 7) is built the same way as the diatonic major scale, but with a lowered 6th. This scale is not very well-known but can be interesting for those who want to add more exotic feel to their jazz improvisations. It is generally played over a major 7 chord, however it’s difficult to use because it sounds a little bit weird and dissonant
