Using exotic scales/modes

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C Hungarian Minor
6th string root	5th string root

The Hungarian Minor scale

Otherwise known as the Gypsy Minor, Zingara, Egyptian or Snake Charmer, this scale is part of the Double Harmonic family, so called because it contains two intervals of a minor third (3 frets).
This lends the Hungarian Minor an Eastern flavour intensifying its exoticness when compared to the Harmonic Minor scale (the scale for which it is most commonly substituted).

The easiest way to see this scale is as a Harmonic Minor with a raised 4th. If we compare these two scales from the root of C, we can see why it is often possible to substitute the Hungarian Minor for its Harmonic minor cousin when improvising/composing melodies.

Harmonisation

By harmonising a scale we can find out its true harmonic intentions. Where possible this is done firstly in triads and 7ths in order to see the basic chords which can be created from each degree of the scale. For the Major, Melodic and Harmonic minor scales this produces concise, clearly definable harmonies with for the most part commonly used chords.

When exotic scales are harmonised however, unusual chords are often created and some theorists believe it a largely pointless exercise, regarding the scale more as a linear melodic structure. Nevertheless it can be both challenging and rewarding to try to come up with chord sequences which are purely diatonic to an exotic scale (i.e. using only notes belonging to the scale). It’s definitely worth trying at least once!

As you can see some degrees of the scale produce very few harmonic options whist others throw up chords which can be difficult to place meaningfully in a progression. Moreover, it is possible through enharmonic equivalents for several contradictory harmonies to appear in the same degree (in this instance particularly on the 6 th). Chords in brackets are seldom seen but could prove interesting in the right context!

For the purposes of this lesson however, I have chosen a different approach by harmonising the tune using non diatonic chords. In fact the progression is a typical minor key sequence using chords pooled from Melodic minor, Harmonic minor and Aeolian Harmony. I have however created the melody purely from the Hungarian minor.

Summing Up

It is difficult to trace the exact origin of the Hungarian Minor but it appears in Gypsy and traditional music of the Middle East as well as in the western improvisations of many rock and jazz musicians.

In fact the Hungarian Minor can be used pretty much anywhere you would have used a Harmonic minor scale. It also fuses well with the Blues Scale in minor keys as it shares its #4 with the Blues Scale’s enharmonically equivalent b5.

Try the melody I penned for this lesson: Hungarian Minor Madness and then improvise using the Hungarian Minor scale over the chord sequence. You should then try using the scale as a substitute for the Harmonic Minor the next time you find yourself in a minor key!

Good luck!

Feel free to email me any questions about this lesson and particularly whether or not you found it interesting/helpful.