Unit 39 · Advanced

Advanced Melodic and Harmonic Minor

Use minor systems beyond basic dominant function.

Lesson
Use minor systems as color and function
Estimated time
150 minutes
Status
Previewing
Preview available

Complete the required prior unit before this unit can be marked complete. You may still read and try every activity.

What you will learn

Apply harmonic and melodic minor colors to minor ii-V-i, altered dominants, and modal color while naming changed degrees and resolutions.

Why this matters: Advanced minor systems connect classical leading-tone function, jazz dominant color, and modern modal sound. The point is choosing altered degrees for a reason.

Before you begin

Minor-key harmony · Melodic minor · Chord-scale relationships · Dominant resolution · Guide tones

Altered degrees have jobs

Harmonic minor raises 7 for leading-tone function. Melodic minor can support smoother minor melody, minor-major color, Lydian dominant, and altered dominant sounds.

Name each changed degree and where it resolves. Do not treat advanced minor as a mystery fingering.

Progression · Key A · 4/4

A minor ii-V-i with color

PredominantBm7b5iiø7 · 2 half-dim
DominantE7b9V7b9 · 5-7b9
TonicAmMaj7iMaj7 · 1mMaj7
ReleaseAm6i6 · 1m6

G sharp supplies leading-tone pull; F or F sharp changes the melodic-minor color. Track altered notes before memorizing labels.

1 · Model

Observe: harmonic and melodic minor application

Observe stage for harmonic and melodic minor application, with instructions and success criteria stated in text.

  1. Hear natural, harmonic, and melodic minor over one tonic.
  2. Observe minor ii-V-i color and altered dominant pull.
  3. Compare minor-major tonic color with ordinary minor seven.

Help you can use: Complete model · Decision labels

  • Changed degrees are named.
  • Dominant tension resolves.
  • Minor color matches the chord function.
2 · Guided attempt

Try with prompts: harmonic and melodic minor application

Try with prompts stage for harmonic and melodic minor application, with instructions and success criteria stated in text.

  1. Name changed degrees 6 and 7.
  2. Target guide tones through ii-V-i.
  3. Resolve altered dominant color to tonic minor.

Help you can use: Step list · Single-variable revision

  • Changed degrees are named.
  • Dominant tension resolves.
  • Minor color matches the chord function.
3 · Fade support

Use fewer prompts: harmonic and melodic minor application

Use fewer prompts stage for harmonic and melodic minor application, with instructions and success criteria stated in text.

  1. Use chord symbols.
  2. Add one melodic-minor color to tonic.
  3. Check whether altered notes have a job.

Help you can use: Check after the attempt

  • Changed degrees are named.
  • Dominant tension resolves.
  • Minor color matches the chord function.
4 · Independent attempt

Perform independently: harmonic and melodic minor application

Perform independently stage for harmonic and melodic minor application, with instructions and success criteria stated in text.

  1. Perform a minor ii-V-i with named color choices.
  2. Explain harmonic and melodic minor usage.
  3. Write a short phrase using altered degrees for a reason.

Help: Complete without prompts or a model.

  • Changed degrees are named.
  • Dominant tension resolves.
  • Minor color matches the chord function.

Reflect

Track the altered degrees

Name where raised 6 or 7 appears, whether it comes from harmonic or melodic minor, and how it resolves or colors the chord.

Guided practice

Build the skill in manageable steps

Exercise 1

Minor ii-V-i targets

Connect minor color to function.

  1. Play Bm7b5-E7b9-Am.
  2. Name guide tones.
  3. Add G sharp over E7.
  4. Resolve to A or keep it as AmMaj7 color.
Success sounds or feels like
  • Guide tones match chords.
  • Raised 7 is named.
  • Resolution or color has a clear job.
Make it smaller when
  • Use roots and guide tones.
Increase difficulty when
  • Add melodic minor tonic color.
Exercise 2

One altered degree

Prevent advanced minor overload.

  1. Choose raised 6 or raised 7.
  2. Place it on a strong beat.
  3. Resolve or sustain it by choice.
  4. Write the source system.
Success sounds or feels like
  • One altered degree is isolated.
  • The source is named.
  • The sound is explained.
Make it smaller when
  • Compare natural and harmonic minor.
Increase difficulty when
  • Apply to a new tonic.

Common mistakes

Match the problem to a better next try

Scale names are correct but no altered degree is heard.

Likely cause: Labels replaced target-tone listening.

Try: Sing and name raised 6 or 7 before playing a full pattern.

Altered dominant tones sound unresolved.

Likely cause: Resolution target was not chosen.

Try: Resolve the strongest altered tone by step to tonic harmony.

Knowledge check

Explain the practice decision

1. Which raised degree creates leading-tone pull in harmonic minor?
2. What is common in a minor ii-V-i?
3. What should an altered degree have?

Check your work

Use minor systems as color and function assessment

Complete every required criterion and record the requested reflection or value.

You check off guitar-playing tasks yourself. FretGarden only grades tasks where you tap, click, or choose an answer on screen.

Review plan

Return before the idea fades

Now

Name raised 6 and raised 7 over one minor tonic.

Next session

Perform minor ii-V-i with guide tones and one altered color.

One week

Write a minor ii-V-i in a new key.

Long term

Choose altered minor-system degrees for color or resolution before shape recall.

Optional extension: Create two tonic-minor endings: plain minor and minor-major color.