![]() Traditionally, musicians play this scale by raising the 6th and 7th on the way up, but then reverting to the natural minor scale on the way down.įor the E minor melodic scale, this means there are no extra sharps on the way down, apart from the F# that is already in the key signature. The melodic minor scale pattern is a bit more complicated because the 6th and 7th notes of the scale are raised by one half step (semitone). Next we’d play another whole-step up, which is A. Let’s use F as our keynote, and build an F major scale, using our pattern of W W H W W W H: First we play F as our keynote, then we play the note one whole-step up, which is a G. So in E harmonic minor, the seventh note of the scale would be a D# instead of a D: Let’s take another look at this, starting on a different note. This means that it goes up by one half-step (semitone), compared to the equivalent note in the natural minor scale. In the harmonic minor, the 7th note of the scale is sharpened. So for E natural minor, all notated Fs become F#s because there is one sharp in the key signature. In the natural minor scale, you just play the notes that are indicated by the key signature. You will need to use different finger patterns to play these scales on the violin. You can think of them as three different 'flavours'!Įach type of minor scale uses a different note pattern, so it has a distinct, recognisable sound. We will look at other example scales too, to be thorough with the process and for scale mastery.There are three main types of minor scale: natural minor, melodic minor and harmonic minor. Now you can use the changed patterns to play the scale anywhere on the fretboard, any octave or pitch. The Flats needed for the 5th and 3rd strings are as shown below As simple as that: the natural minor scale patternsįor your convenience, the final patterns are given below. The 3rd 6th adn 7th notes have to be flattened, as indicated by arrows with the b sign.Įxtend the ‘flattening’ to the 4th string too. Let us use them on the Major scale patterns that we know.įor example, the 6th string root pattern is shown. Now you know which notes have to be changed or flattened from any known Major scale pattern, to get the equivalent Natural minor scale pattern. The E A and B notes are flattened in the Natural minor scale.Į is the 3rd note, A and B the 6th and 7th notes respectively. C being the root, has a superscript of 1, F being the 4th note has that number as the superscript etc…Ĭ major scale: C 1 D 2 E 3 F 4 G 5 A 6 B 7 CĬ natural minor scale: C 1 D 2 Eb 3 F 4 G 5 Ab 6 Bb 7 C The number superscripts are the note position within the scale. ![]() Change it in any of the patterns and you have the new pattern.īelow are the C major scale and Natural minor scale notes #Minor scale pattern how to#How to get the Natural minor scale patterns? The difference in notes between the Major and Natural minor scales Similar to the 4th string pattern, on the 3rd string too, shifts can give us new patterns. Here is an example where the 3rd (G3) and the 6th (D2) notes have been shifted to the strings just below them. Of course you can rearrange the notes and get other patterns too. More on them at the Indian Raga – Western notation post. ![]() S R2 etc are the swaras… equivalent to Root, Major 2nd etc. Start the same pattern from the 4th string, adjust for the second string and you have the way to play the major scale starting from anywhere on the 4th string. Want to play major scales starting on the 5th string? The same pattern used for the 6th string, when started on the 5th string, gives us the solution. R, M2 etc are Root, major 2nd, major 3rd and so forth… the intervals. ![]()
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