Instead, it is much better to learn how to build the major scale impeccably (using the W W h W W W h method), and then learn how to derive other scales by the use of alterations (flats and sharps).We refer to the scale shown above as the natural or diatonic minor since it consists of only those pitches specified by the key signature. Here, I only listed out three scales, but what if you had to memorize even a mere 10 scales? 20 Scales? Could you accurately do it, such that you never made a mistake in writing the scale? If you’re honest with yourself, you’ll recognize that that is a very tall order indeed. Imagine having to memorize a list of scales that looked something like this:Īnd so on. There are several modes (7 for heptatonic scales, 5 for pentatonic scales, etc), and this method can very quickly get overwhelming. To further strengthen the argument against using this method, as you continue learning and growing in music theory, you will eventually learn about other scales known as modes. To me, it seems all too easy to mix up where the whole and half steps are supposed to go. The problem is, if I don’t memorize the pattern exactly, then I will definitely build something different. With this new method, I now have to memorize another formula ( W h W W h W W). In other words, I already have the major scale formula floating around in my head ( W W h W W W h).
This second method requires that I memorize a completely new intervallic formula, EXACTLY. Why Is This Not The Best Method To Build A Minor Scale? Once again, if you have answered all of those questions correctly, then you will have correctly built the E minor scale. Is E to F a whole step? No, but it needs to be. Our goal is to arrive at a scale that has the form W h W W h W W.
A FLAT MELODIC MINOR SCALES SERIES
Next, we ask ourselves a series of questions. For example, starting with the E skeleton we have: Using this method, if we wanted to build the E minor scale, we would start by writing out the E skeleton, then asking ourselves a series of questions (just as we did when we were building major scales) to determine the exact intervallic structure of the scale. Using this method, you will not have to build the major scale first, but you will have to systematically and carefully think about the the intervals. It turns out that the formula above is the general formula for building any minor scale. Considering the A minor scale, we can see that it is built using the following formula: The next method of building a minor scale involves considering the intervals directly, instead of building the major scale first. I’ll talk more about why I believe that after the example. This is true, although I have to warn you, I don’t think learning this method is worth your time. The above method is certainly my preferred method, but you may have heard that there is another method to building a minor scale. However, the fact that the A skeleton and the A minor scale are indeed one and the same, is just a matter of coincidence, and is something that will not occur in any other scale in the future.Īlternate Method To Building A Minor Scale
Thus, you might be wondering what the point of the exercises was. If you are paying attention you might realize that the A skeleton looks exactly the same as the A minor scale. If you answer these questions correctly, then you will have also built the A minor scale correctly. With respect to the A major scale, you would want to ask yourself what note is a half-step lower from C#, F#, and G# (the answers would be C, F, and G, respectively). To flat a note means to lower it by a half step. Instead, think about the definition of a flat. It is important to note that by flatting 3, 6 and 7, we don’t mean to literally put a flat on the the note, that would be incorrect (and in some cases would actually be double flatting the note!). Here’s an example:Ī Skeleton: A B C D E F G A (Improperly built scale, but properly ordered)Ī Major: A B C# D E F# G# A (Using the W W h W W W h Method)Ī Minor: A B C D E F G A (By flatting 3, 6 and 7)
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