To the uninitiated, this scale looks and sounds like a Major with a minor 6th or a Harmonic Minor with a major 3rd.
It is classified as a ‘synthetic’ because it is an artificial variation on the orthodox scales which we all learn to get going.
Its interesting how moving (or adding/subracting) a single note can transform a scale in terms of its vibe and possibilities for melody and harmony. in much the same way as it does in a chord e.g. suspended a chord by switching third with a second, or adding a b5 into the Minor Pentatonic to facilitate the Blues.
Here is an example of the Harmonic Major from C = C D E F G Ab B C.
As you roam up and down, your first impression might be that it is a Major which drifts in and out of a Harmonic Minor as you pass over the dominant.
You might also detect some C Phrygian maj3 (from F Harmonic Minor) as you descend from the b6 through to the 3rd.
Achieving an open mind with fresh ears takes time when the change is stark, but nevertheless in an otherwise familiar context.
The Whole-Tone scale (another popular synthetic), reminds the initiate of the common Lydian Mode until that is they land on its b6 & b7, and then complete the octave in a mere six notes.
Similarly the octotonic Whole-Half Diminished, which seems like a Harmonic Minor but with a b5 and an added maj 6th.
Once you give these scales your attention with some improv though, they will gradually generate a cohesive vibe of their own and references to your mainstream keys will recede.
You could also think of it as an actual derivation of the 3rd mode of the Harmonic Minor Scale - remember the b6 = #5:
Am Harmonic (Aeolian maj7) = A B C D E F G#
Third inversion (Ionian aug5) = C D E F G# A B
So if you have been practising the HM and its modes, then your ear might already be familiar with the #5/b6th sound in and amongst a Major tonality.
Then, as you become more familiar with the new Harmonic Major, you could also use the familiar maj 6th from Ionian #5 as a chromatic note.
Here is a little improv using the scale shape over its third E as a drone, to give you an idea of how it might sound:
If you enjoy playing with it then build more shapes and populate the board with its notes.
By the way, its modes also provide triads:
C, C aug, D dim, Em, E, F dim, Fm, G, Ab dim, Ab aug, Bdim
More food for thought…if you think of it as a Major or H.Minor scale then either way it has lost its Relative. From the Major perspective, Aeolian with a b1 would however be familiar to your ear, because it reminds you of the H.Minor (b1 = maj7) but without the Root that your memory will expect.
Scales designed to deviate from the orthodoxy are known as Synthetic or Exotic depending on their source. They originate from different cultures, or by modifying the popular patterns or by applying a symmetrical or repetitive formula like the Whole-Tone and Whole-Half.
Here are some examples:
You should try building one.
Start by considering this list of notes in the key of C including HM & MM variations and the Blues) and the opportunities to add, subtract or move notes into the spaces:
C D D# E F F# G G# A B C
Initially choose a 5, 6, 7 or 8 note structure for the sake of familiarity, but there are no rules when you are creating, and remember from SCALES 32 that your creation need not resolve in one octave.
Write down the interval formula of your scale and check online if it already has a name.
