Review: Scales, scales, and more scales

First, let’s take a quick refresher course on some music theory terminology. We know about major and minor, right? We’ve heard this in reference to chords, scales, harmony, etc. We have major and minor chords just as much as major and minor scales. However, unlike it’s major counterpart, the minor scale has a few differentiations — natural minor being one of them. That’s right — there is one major scale, but there are three minor scales: natural, harmonic, and melodic.

In its simplest form, the natural minor scale follows this pattern of whole and half steps: W-H-W-W-H-W-W (where W = whole step, H = half step). For example, in A natural minor: A, B, C, D, E, F, G, A.

A few things to remember before we move on.

1. You’re going to be seeing a lot of these diagrams and scale formulas. Don’t let them scare you. We’re going to learn the scale in their most rigid and basic states just as a means of finding our musical footing. But music is an art form, after all. When playing or composing, you may not use each of these scales in their set form. Rules oftentimes are meant to be broken. That being said, you have to learn the rules before you can break them.
2. Let’s say you’re the kind of student who benefits more from hands-on learning and doesn’t want to just ‘read’ about scales but instead PLAY them. In that case, check out this melodic minor lesson from Playground Sessions A-lister Phil Anderson!

Ok, now let’s spice things up a bit with the harmonic minor scale.

Imagine the natural minor scale putting on its party attire and stepping into a vibrant world of increased tension and drama. The harmonic minor scale retains the melancholic essence of the natural minor but introduces a twist with a raised seventh degree: W-H-W-W-H-WH-H. (Note: our penultimate interval is written as “WH”. This is because the sixth and seventh degrees of this scale are three notes apart. Therefore, you have to jump up a whole step plus an additional half step. In this instance, we are going from F up to G# which is three notes away.) See below:

See the difference? Do you hear the tension building? That raised seventh note adds a whole new dimension of flavor, giving compositions a sense of drama and passion! We can think of it simply as raising that seventh degree OR we can think of it as “borrowing from the major scale of the same key”, which in this case is A. In other words, harmonic minor (and melodic minor!), borrows the raised seventh degree (also known as the leading tone) from the major scale of the same key (also known as the parallel major).

Arriving at melodic minor (dun dun duuuuuun)

Now that we’ve refreshed our understanding of the natural and harmonic minor scales, let’s do what we came to do: talk about the melodic minor scale! This scale takes the best of both worlds — the smooth flow of the natural minor scale and the heightened tension of the harmonic minor
scale — and merges them into a dynamic and expressive powerhouse. Take a look (remember – this scale has a different form ascending as it does descending!):

Whoa. So a couple things right off the bat: First, when ascending, the scale looks like the major scale, but with a lowered third. And when descending, the scale looks just like our old friend, natural minor! In this way, we can see how the melodic minor scale is an amalgam of a few different scales, taking the best and most expressive parts of the major, natural minor, and harmonic minor scales, all the while adding its own flair and voice.

Of course this scale has its own formula, as all scales do. In this case, ascending would be W-H-W-W-W-W-H (A, B, C, D, E, F#, G♯), just like harmonic minor but with a raised 6th. And descending would be W-W-H-W-W-H-W (A, G, F, E, D, C, B, A), exactly like natural minor.

(Quick note: you may be asking, “Why are you showing me all these formulas?” Well, I’ve only shown you these scale in the key of A. But say you’re playing or writing in the key of Bb – then you need to know how to make these same scales in that new key! And the only way to know how to do that is by not just familiarizing yourself with the scale, but also how to make the scale.

Wanna go above and beyond? Then, just for kicks, the next time you are in front of the piano, take a scale you know pretty well and try it in a key you’ve never used before. This process, known as transposing or transposition, is one of the most direct ways to develop musical skills and versatility!)

Practical applications of melodic minor

Why use the melodic minor scale?

It’s sort of jarring to see a scale that sounds different one way as it does the other. We all knew it was coming, we sure mentioned it enough beforehand, but to see it for real is something else. It’s also quite subtle too, right? It has a certain flow to it. But remember – this is on purpose! The main reason for this being that early adopters of the scale simply thought it sounded better – the lowered 6th and 7th degrees on the way down, they thought, felt stronger harmonically. All these years later, many still agree of course, as it literally adds a whole new dimension to its tonal qualities. Composers often employ the melodic minor scale to introduce subtle shifts in tonality and mood within a piece. The raised sixth and seventh degrees provide composers with additional harmonic and melodic possibilities, allowing for compositions that convey both depth
and emotional nuance.

Melodic minor examples in songs

Famous compositions that feature the melodic minor scale include jazz standards like “Autumn Leaves” and classical pieces such as Mozart’s “Piano Concerto No. 24 in C minor, K. 491.”

A more popular example of the scale would be on “Yesterday” by The Beatles:

Listen to the ascending melody on “All my troubles seemed to far away,” (this phrase has a raised seventh degree). But on the next line, “Now it looks as though they’re here to stay”, the melody is descending and has a lowered seventh degree. See? There is a method to this madness. In practice, melodic minor becomes a compositional tool to be used at the composers need and/or desire.

Let the melodic magic unfold!

In a nutshell, the melodic minor scale isn’t just a scale — it’s a gateway to musical adventures waiting to be explored. Melodic minor serves as a bridge between the natural minor and major scales, offering musicians a palette of colors to enrich their compositions. Whether you’re a beginner itching to try something new or a seasoned player looking to spice up your repertoire, the melodic minor scale is your ticket to musical bliss.

If by some chance you want to go further in depth with this subject (and have some time to kill), check out this video from our favorite internet music guru Rick Beato:

Frequently asked questions

What is the Melodic Minor Scale?

Melodic Minor is a variation of the minor scale. This scale is unique in how it changes its shape when ascending and descending:

• When ascending: The scale is like a natural minor scale but with the 6th and 7th degrees raised by a half step. For example, in A melodic minor ascending, the notes are A, B, C, D, E, F♯, G♯, A.
• When descending: It typically returns to the natural minor form, so in A melodic minor descending, it would be A, G, F, E, D, C, B, A.

What is the Natural Minor Scale?

Natural Minor can be considered the “main” version of the minor scale, as other iterations of the minor scale are usually based off of it. Its pattern of whole and half steps is W, H, W, W, H, W, W. So in A natural minor, for example, the notes are A, B, C, D, E, F, G, A.

What is the Harmonic Minor Scale?

Harmonic Minor is another variation of the minor scale, distinguished by its raised 7th degree. Its pattern of whole and half steps is W, H, W, W, H, WH, H. Thus, In A harmonic minor, the notes are A, B, C, D, E, F, G♯, A.

To turn a major scale into its minor counterpart (also known as the parallel minor), three of the notes need to be lowered: the third, the sixth, and the seventh. By lowering these notes, the scale will now have a minor third, sixth, and seventh, which are crucial in achieving that “minor” sound. For example, by lowering the third, sixth, and seventh degrees of  A major (A, B, C#, D, E, F#, and G#), it will become A natural minor (A, B, C, D, E, F, and G). From there, the scale can be adjusted to either harmonic or melodic minor by applying the relevant criteria.

Try the Playground Sessions app

Free 7-day trial

Get the App

iPhone • iPad • Mac • Windows • Android

The post Understanding the melodic minor scale appeared first on Playground Sessions Blog.

What are Ledger Lines?

First things first. We already know what the grand staff is, right? Let’s do a quick refresher just in case. The grand staff is a set of two staves, the Treble Clef Staff and the Bass Clef Staff. It is typically used in piano music to notate a wide range of pitches (notes), and in turn indicate which key to play on the piano.

1. Treble Clef Staff: The upper staff represents higher notes and is typically played with the right hand on the piano.
2. Bass Clef Staff: The lower staff represents lower notes and is typically played with the left hand on the piano.

To understand ledger lines, we must first understand that the lines and spaces on the grand staff represent pitches (notes) on the piano. Here is what the grand staff looks like with the pitches (both on the lines and in the spaces) being notated:

You’ll notice that there are 5 lines and, consequently, 4 spaces on both the treble and bass clef. In theory, there could have been 6 lines or even 4 lines, but this convention was chosen. Too many lines would likely make the music harder to read, while too few lines would force the use of more ledger lines, which also makes the music more challenging to read.

So what exactly are ledger lines? Ledger lines are the small lines that you often see drawn above the treble staff or below the bass staff. They function the same way as the longer lines of the staff, meaning they indicate a pitch (note) to be played on the piano. Here are some examples:

But why, you may ask, are ledger lines smaller if they are the ‘exact same’ as the longer staff line? The reason for this is primarily to maintain the readability and clarity of the music. If ledger lines were as long as the staff lines, they could create visual clutter, especially when multiple notes with ledger lines are close together. By keeping ledger lines shorter, the eye can more easily distinguish between the notes on the staff and those on ledger lines, making it easier for musicians to quickly read and interpret the music. This design helps keep the musical notation clean and organized, ensuring that the performer can focus on the correct pitches without unnecessary confusion.

The first ledger line you’ll learn – Middle C

One of the most popular notes you hear about as a piano player is, arguably, “Middle C.” It practically becomes home base when you’re starting out. Middle C is not written on either the treble or bass staff; instead, it’s notated in the space between the two staves. In fact, if you look closely, you’ll notice that Middle C is actually on a ledger line.

Middle C is not only the first note you learn to play on the piano, but it’s also an incredibly important note in music, acting as a central reference point for both the treble and bass clefs. Middle C falls right between these two clefs, and a ledger line is used to represent it. It is positioned on a single ledger line just below the treble staff and just above the bass staff. This placement helps musicians easily locate and recognize Middle C, bridging the gap between the treble and bass clefs.

By using a ledger line for Middle C, we keep the notation clear and avoid the confusion that might come if Middle C were squeezed into the existing lines and spaces of either staff. This nifty method maintains the visual organization of the grand staff and makes for an intuitive transition between the treble and bass clefs.

Ledger lines as musical scaffolding

Think of ledger lines like little ladders that help us climb higher or lower into the world of musical pitches. Without them, the melodies and harmonies we could play would be stuck within the confines of the grand staff, which is somewhat limited. Imagine you’re playing the piano, and the next note you want to play is above or below the ones neatly nestled on or between the grand staff lines. That’s where ledger lines swoop in to save the day, extending the musical range and letting us hit those high notes or rumble with those low bass notes. (See what I meant before about “NEXT LEVEL”? My jokes are fun AND educational! Wow, you guys are a great crowd. Don’t forget to tip your waitstaff – try the veal!)

Cool but how exactly do I read ledger lines?

For most of us, reading ledger lines is a bit harder than reading notes on the treble and bass clefs. That being said, you’re not entirely helpless here. Did you really think your pals at Playground Sessions would leave you empty handed? Why are ledger lines harder to read? Simply because you play them less often on the piano, so it just takes more time to memorize them! While ledger lines are super handy for reaching those sky-high or basement-level notes, too many ledger lines can turn a music sheet into a cluttered mess, making it harder for musicians to follow along. If you’re at the point of adding ledger lines in excess, it usually means you’re using the wrong clef or instrument.

Another approach to understanding ledger lines would be to think in terms of intervals, which is a term you have most likely heard before if you’re learning music. Intervals, AKA the distance between two notes, is basically the core tenet of music – we use intervals in everything from memorizing the sequence of the notes, to making chords. For this approach, focus on the sequence of notes as it’s laid out on the piano. Know it up, down, and inside out. That way, you can know that if, say the top line is A on your bass clef, then the first ledger line above it has to be C.

This all does beg the question, however: ‘Why are ledger lines harder to read?’ This is because you simply play them less often on the piano, thus it takes more time to memorize them! As I said before, the format of music notation is designed to only use ledger lines in moderation. That being said, you’re not entirely helpless here. (Did you really think your pals at Playground Sessions would leave you empty handed?) For most of us, reading ledger lines is a bit harder than reading notes on the treble and bass clefs. If this still isn’t totally clicking for you, check out the video lesson below from Playground Sessions for more info on ledger lines, intervals, and the sequence of notes.

So, what’s the bottom (Ledger) Line?

Ledger lines may seem like tiny details, but they pack a punch when it comes to expanding our musical horizons. Learning them can be kind of tricky at first, but the more you play and come across them, the more you’ll start to look at ledger lines just like you do with the grand staff—they’re simply an extension of it.

As you can see, there are a few different ways you can go about learning ledger lines. And as you grow as a musician, you’ll find what works for you, just like every other musician out there. Still, all those musicians can agree that it makes the most sense to have a plethora of tools in your arsenal, especially when starting out! Keep working to find what method best suits you. Sometimes, the best way to start is to just jump right in—so click below to kick-start your musical journey on the piano with Playground Sessions. We promise to give you plenty of opportunity to practice reading ledger lines…;)

Keep on playing!

Try the Playground Sessions app

Free 7-day trial

Get the App

iPhone • iPad • Mac • Windows • Android

The post Ledger Lines Explained: What They Are and How To Read Them appeared first on Playground Sessions Blog.