STRINGSCALES

E harmonic minor Scale — Guitar Fretboard Visualization

Low E string: E, F#, G, A, B, C, D#, E at frets 0, 2, 3, 5, 7, 8, 11, 12

A string: A, B, C, D#, E, F#, G, A at frets 0, 2, 3, 6, 7, 9, 10, 12

D string: D#, E, F#, G, A, B, C at frets 1, 2, 4, 5, 7, 9, 10

G string: G, A, B, C, D#, E, F#, G at frets 0, 2, 4, 5, 8, 9, 11, 12

B string: B, C, D#, E, F#, G, A, B at frets 0, 1, 4, 5, 7, 8, 10, 12

High E string: E, F#, G, A, B, C, D#, E at frets 0, 2, 3, 5, 7, 8, 11, 12

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E harmonic minor

The harmonic minor scale raises the 7th of natural minor, creating an augmented 2nd gap between the flat 6th and the leading tone. That gap is its signature: dramatic, vaguely Eastern, and instantly recognizable in classical themes, neoclassical shred and surf rock. Harmonically it exists so a minor key can have a real dominant chord, so try it over the V chord resolving to a minor i.

it consists of these notes and degrees:

E

i

Em
F♯

ii°

F♯dim
G

bIII+

Gaug
A

iv

Am
B

V

Bmaj
C

bVI

Cmaj
D♯

vii°

D♯dim

Characteristic note: D# (natural 7), the raised seventh that pulls strongly back to the root.

Same notes, different mode

E harmonic minor uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

F# locrian 6G major augmentedA dorian #4B phrygian dominantC lydian #9D# ultralocrian

harmonic minor in all 12 keys, with chords and related scales

tip
  • The augmented 2nd between the flat 6th (C) and the leading tone (D#) is the signature: place it deliberately instead of avoiding it.
  • Use E harmonic minor over the V7 chord in a minor key, resolving to the i; that is the scale's original job.
  • For neoclassical lines, run the scale in triplets ending on the 5th (B) or root, Malmsteen style.
  • Alternate natural and harmonic minor over a static E minor vamp: raise the 7th only when heading home to the root.

How to play E harmonic minor on guitar

Root E rings open on both outer strings, so the deepest note the instrument offers doubles as home base. Open A, G, and B stay in key as well, sounding the fourth, the minor third, and the fifth above the root. Only the D string drops out. B major gives this key a working dominant, which means cadences can resolve onto that low open E.

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