The melodic minor scale is built from the natural minor scale by raising the sixth and seventh degrees by a half step (UK: semitone) when the scale goes up. When it goes down, those two degrees return to their natural minor values. This double behavior smooths out the augmented second that the harmonic minor scale creates.
Why does the melodic minor scale exist?
It helps to start with the problem it solves. The natural minor scale has a lowered seventh degree (G♮ in A minor), which weakens the pull toward the tonic. The harmonic minor scale fixes this by raising the seventh degree (G♯), which creates a leading tone (UK: leading note) that resolves up to A. But that change causes a new problem: between the sixth degree (F) and the raised seventh (G♯) there are three half steps. This interval is an augmented second, and it is awkward to sing.
The solution is to raise the sixth degree as well when going up (F → F♯). Now F♯ to G♯ is an ordinary whole step (UK: tone), and the melody rises smoothly. When going down, the leading tone is no longer needed, because the melody is moving away from the tonic. Both degrees go back to their natural values.
The three minor scales compared
| Degree | A natural minor | A harmonic minor | A melodic minor (ascending) |
|---|---|---|---|
| 1 | A | A | A |
| 2 | B | B | B |
| 3 | C | C | C |
| 4 | D | D | D |
| 5 | E | E | E |
| 6 | F | F | F♯ |
| 7 | G | G♯ | G♯ |
| 8 | A | A | A |
The ascending melodic minor raises the 6th and 7th degrees. The descending melodic minor is identical to the natural minor.
Interval pattern
The distances between degrees (W = whole step, H = half step) are different going up and going down. Each column names the same pair of neighboring degrees in both rows; in the descending row the notes are simply played in the opposite order:
| Direction | 1–2 | 2–3 | 3–4 | 4–5 | 5–6 | 6–7 | 7–8 |
|---|---|---|---|---|---|---|---|
| Ascending | W | H | W | W | W | W | H |
| Descending | W | H | W | W | H | W | W |
Start from the natural minor scale:
Raise the sixth and seventh notes by a half step and you get the ascending melodic minor scale:
On the staves of this page the raised notes are marked in red to make them easy to spot. In exercises you do not need to mark them.
Move this pattern to any tonic and you get the melodic minor scale of that note.
The scales are shown in two equivalent forms: with the accidentals written inside the scale, and with a key signature. Which one you need depends on the exercise.
All 15 melodic minor scales (ascending form)
In the descending form, the sixth and seventh degrees return to the values of the natural minor scale.
| Scale | 1 | 2 | 3 | 4 | 5 | 6↑ | 7↑ | Key signature + accidentals |
|---|---|---|---|---|---|---|---|---|
| A melodic minor | A | B | C | D | E | F♯ | G♯ | + F♯, G♯ |
| E melodic minor | E | F♯ | G | A | B | C♯ | D♯ | 1♯ + C♯, D♯ |
| B melodic minor | B | C♯ | D | E | F♯ | G♯ | A♯ | 2♯ + G♯, A♯ |
| F♯ melodic minor | F♯ | G♯ | A | B | C♯ | D♯ | E♯ | 3♯ + D♯, E♯ |
| C♯ melodic minor | C♯ | D♯ | E | F♯ | G♯ | A♯ | B♯ | 4♯ + A♯, B♯ |
| G♯ melodic minor | G♯ | A♯ | B | C♯ | D♯ | E♯ | F double sharp | 5♯ + E♯, F double sharp |
| D♯ melodic minor | D♯ | E♯ | F♯ | G♯ | A♯ | B♯ | C double sharp | 6♯ + B♯, C double sharp |
| A♯ melodic minor | A♯ | B♯ | C♯ | D♯ | E♯ | F double sharp | G double sharp | 7♯ + F double sharp, G𝄪 |
| D melodic minor | D | E | F | G | A | B♮ | C♯ | 1♭ + B♮, C♯ |
| G melodic minor | G | A | B♭ | C | D | E♮ | F♯ | 2♭ + E♮, F♯ |
| C melodic minor | C | D | E♭ | F | G | A♮ | B♮ | 3♭ + A♮, B♮ |
| F melodic minor | F | G | A♭ | B♭ | C | D♮ | E♮ | 4♭ + D♮, E♮ |
| B♭ melodic minor | B♭ | C | D♭ | E♭ | F | G♮ | A♮ | 5♭ + G♮, A♮ |
| E♭ melodic minor | E♭ | F | G♭ | A♭ | B♭ | C♮ | D♮ | 6♭ + C♮, D♮ |
| A♭ melodic minor | A♭ | B♭ | C♭ | D♭ | E♭ | F♮ | G♮ | 7♭ + F♮, G♮ |