Scale guide
A melodic minor
In one sentence: In this exercise, A melodic minor keeps F♯ and G♯ in both directions; this is the form commonly used in jazz.
Altered notes in the octave: A, B, C, D, E, F#, G#.
One map, two directions
Ascending: A-B-C-D-E-F♯-G♯-A. Exercise descent: A-G♯-F♯-E-D-C-B-A.
- Formula: 1-2-♭3-4-5-6-7
- Descending: use the same collection in reverse order.
- Key point: F♯ and G♯ remain raised in both directions in this exercise.
Notes and fingering
| Direction | Notes | Right hand, 1 octave | Left hand, 1 octave |
|---|---|---|---|
| Ascending | A B C D E F♯ G♯ A | 1-2-3-1-2-3-4-5 | 5-4-3-2-1-3-2-1 |
| Descending | A G♯ F♯ E D C B A | 5-4-3-2-1-3-2-1 | 1-2-3-1-2-3-4-5 |
| Direction | Right hand, 2 octaves | Left hand, 2 octaves |
|---|---|---|
| Ascending | 1-2-3-1-2-3-4-1-2-3-1-2-3-4-5 | 5-4-3-2-1-3-2-1-4-3-2-1-3-2-1 |
| Descending | 5-4-3-2-1-3-2-1-4-3-2-1-3-2-1 | 1-2-3-1-2-3-4-1-2-3-1-2-3-4-5 |
First practice the turn at the top: F♯-G♯-A-G♯-F♯.
Hear the difference
Play A natural minor first: A-B-C-D-E-F-G-A. Then play the melodic ascent. The raised F♯ and G♯ make the line lead more directly toward A; they do not make the scale “major,” because C remains the minor third.
In the classical tradition, the scale commonly returns to A natural minor on the way down: A-G-F-E-D-C-B-A. In jazz, “melodic minor” usually means the ascending collection in both directions. This exercise and its diagrams practice the jazz form.
Make it musical
- Play the ascent and say “F sharp, G sharp.”
- At the top, reverse slowly and say “G sharp, F sharp.”
- Hold an A minor chord (Am) and make a four-note phrase that ends on A or E.
Listening and context
The ascending melodic-minor form became standard practice to smooth the F–G♯ leap in tonal writing. Jazz practice keeps that collection on the descent, making it a stable color for improvisation and chord building.
Common mistakes
- Naturalizing F♯ and G♯ from classical habit: keep them raised on the descent in this exercise.
- Forgetting C is still natural: C is what keeps the scale minor.
- Treating the two forms as interchangeable: identify whether you are practicing the classical or jazz form first.
- Rushing the direction change: repeat F♯-G♯-A-G♯-F♯ before joining both hands.
Quick check
- I can name the raised notes on the ascent: F♯ and G♯
- I keep G♯ and F♯ on the descent in this exercise
- I keep C natural in both directions
- I can play one octave in each hand without a pause at the turn
Keep this idea: PianoTrail practices jazz melodic minor here, with the same notes in both directions; the classical descent is a contextual alternative.