Primary Melodic Minor Scales - Upper String Scale Series #8

Once the student has mastered both the primary natural minors and the secondary blue major scales I will begin to introduce the melodic minor scales. From a theory standpoint it would make more sense to introduce the harmonic minors first because there is only one modification from the natural minor, but it makes more sense to do melodic first from a string technique standpoint. This goes back to the finger patterns from Barbara Barber’s Fingerboard Geography. The melodic minor scales all use the initial four basic patterns (Figure 1) but due to the augmented second between the sixth and seventh scale degrees, the harmonic minors require use of the extension patterns that Barber introduces later. This is the reason I introduce melodic first.

I start by comparing the D-natural Minor to the D-melodic Minor, showing the student the raised sixth and seventh on the way up and the lowered sixth and seventh on the way down, making sure they understand that the descending scale is identical to the natural minor. I will then compare the melodic to the parallel major, showing them that the ascent is the same with the exception of a lowered third. I do this to guide them to the right finger patterns. The open string keys of D, A, and G use blue and red on the way up (Figures 3, 4, and 5). On the return the red becomes green again, just like the natural minor scale. By looking at the chart in Figure 1 we can see that the raised sixth and seventh make the scale use the same color as its parallel major scale. Pointing this out can sometimes help the student with the transition.

The first finger scales of E, B, and A use red and yellow up and blue and red on the way down (Figures 6, 7, and 8). I deviate from the colors a little bit with the two octave melodics. With the changes in the two octaves there are so many colors to think about. I usually encourage the student to think in terms of the scale degrees for these scales. If they know that the sixth and seventh are raised on the way up and they understand key signatures and which notes are on what scale degrees this is often an easier method for the two octave melodic minors. Ideally by this point the student has become comfortable enough with the theory concepts behind scales and key signatures that this won’t be much of an issue. Such a shift will be necessary in later scale work, but comes in handy here as well with the two octave A Melodic Minor (figure 9). The finger patterns should still be used to reinforce the theory and the technique, but it comes down to efficiency of thinking when actually playing the scales.

The second finger scales of F-sharp and B use yellow and green on the way up (Figure 10 and 11). The use of a low one on the raised sevenths in these keys is possible, but using a high four in the context of the green pattern makes more sense for most of the students following this system, because the use of the low one basically requires the player to shift the entire hand back to deal with it, which doesn’t make sense to do for the two notes on that string. As long as they have worked with these patterns at this point they should not have an issue using the high four. I will still present that low one fingering as an option, because different fingerings work for different people. By this point in their studies I am typically presenting them with options and allowing them to choose – as long as they stick with one consistently. This applies to technique work like the scales as well as repertoire. The same rules apply now to the two octave B minor (Figure 12).  

The third finger scales of C and G Minor (Figures 13 and 14) are slightly more complicated due to their position on the instrument. The easiest way to think is string by string. The first string will be green, in keeping with the key, per the discussion from the natural post. The second string will be green, due to the raised sixth. The raised seventh will push the third string into blue. On the way down the top two strings revert to yellow.

The two octave G Melodic Minor (Figure 15) rounds off the primary melodic scales. From there I proceed to the red secondary majors.