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Melodic minor scales with arpeggios how to#
One issue with this method is the question of how to handle the “turnarounds” in melodic minor scales. Articulation studies do of course have their place, but with scales and arpeggios I’m mostly looking for good finger movement and consistent tone, and tonguing can hide some problems. You’ll notice that I like everything slurred.
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Proceed downward to the instrument’s lowest note that falls within the scale.Proceed upward in an even rhythm (such as even eighth notes) to the highest note in the instrument’s “range” that falls within the scale (according to an upper range limit that I set).Start on the first scale degree, in the instrument’s lowest octave.To the chagrin of my students (oboists/clarinetists/bassoonists/saxophonists), I require that they are played in this format: Most of the studios require scales to be played in octaves, but I prefer a different approach.
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The format of the scales, however, is left up to the individual studio professors. Remember you don't have to learn five scale patterns for each mode, all you need to know is the relative melodic minor key and play one of the five melodic minor patterns in that key, for instance: If you want to play an E ♭ Lydian augmented scale (which is the third mode of the melodic minor scale) over an E ♭ MA 7( ♯5) chord you would track back 3 semitones, E ♭ > D > C, and play a C melodic minor which is exactly the same as playing an E ♭ Lydian augmented.My students at the university are subject to a department-wide requirement to pass a scale exam, in which they must demonstrate mastery of major and minor scales.Below you will find a complete melodic minor modal reference. Just like the major scale, there are also seven modes of the melodic minor scale and among them are the altered scale, the Lydian dominant scale and the Lydian augmented scale. Guitarists tend not to use this theory and use the same melodic minor pattern for both ascending and descending, which is the way I will teach you here. This comes from the harmonic minor scale and the augmented second interval between the sixth and seventh degrees which is sometimes considered too harsh in an orchestral environment, so composers tend to raise the sixth degree by a semi-tone if the melody is ascending to the seventh (creating a standard melodic minor scale or ascending melodic minor), and when the melody is descending from the seventh to the sixth, the seventh is lowered a semi-tone (creating a natural minor scale or descending melodic minor). Some classical composers have two versions of the melodic minor scale, one ascending, the other descending. The melodic minor scale is a seven note scale with a numeric formula of 1-2- ♭3-4-5-6-7-8/1.