STRINGSCALES

G harmonic minor Scale — Guitar Fretboard Visualization

Low E string: F#, G, A, Bb, C, D, Eb at frets 2, 3, 5, 6, 8, 10, 11

A string: A, Bb, C, D, Eb, F#, G, A at frets 0, 1, 3, 5, 6, 9, 10, 12

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

G string: G, A, Bb, C, D, Eb, F#, G at frets 0, 2, 3, 5, 7, 8, 11, 12

B string: C, D, Eb, F#, G, A, Bb at frets 1, 3, 4, 7, 8, 10, 11

High E string: F#, G, A, Bb, C, D, Eb at frets 2, 3, 5, 6, 8, 10, 11

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G 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:

G

i

Gm
A

ii°

Adim
B♭

bIII+

B♭aug
C

iv

Cm
D

V

Dmaj
E♭

bVI

E♭maj
F♯

vii°

F♯dim

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

Same notes, different mode

G 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.

A locrian 6Bb major augmentedC dorian #4D phrygian dominantEb lydian #9F# ultralocrian

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

tip
  • The augmented 2nd between the flat 6th (Eb) and the leading tone (F#) is the signature: place it deliberately instead of avoiding it.
  • Use G 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 (D) or root, Malmsteen style.
  • Alternate natural and harmonic minor over a static G minor vamp: raise the 7th only when heading home to the root.

How to play G harmonic minor on guitar

Open G gives the root and open D the fifth, so a two-string drone frames G harmonic minor before any fretting starts. Open A joins them on the second degree. D major stands in as the real dominant, which means built-in V-to-i pull back toward that open G. Fretted roots start at fret 3 on either E string; the A-shape barre waits at fret 10 and the next position begins at fret 7.

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