Questions: Melodic Minor Scale

Question 1

In A melodic minor ascending, which scale degrees are raised compared to A natural minor?

• A. Only the 7th degree (G → G♯), to create a leading tone
• B. Only the 6th degree (F → F♯), to smooth the step from scale degree 5
• C. Both the 6th and 7th degrees (F → F♯ and G → G♯)
• D. The 6th, 7th, and 3rd degrees, to approach the tonic from multiple directions

Answer: (C)

Melodic minor raises both the 6th and 7th ascending. The 7th is raised to create a leading tone (a semitone below the tonic); the 6th is raised to eliminate the augmented 2nd that would otherwise appear between ♭6 and ♯7. Raising only the 7th (as harmonic minor does) leaves the awkward augmented second intact.

Question 2

A violinist descends from the tonic through a melodic minor scale. Which pitches does she use for scale degrees 7 and 6?

• A. The raised versions (♯7 and ♯6) — the same as ascending, for consistency
• B. The raised 7th but the natural 6th — the same as harmonic minor descending
• C. The natural versions (♭7 and ♭6) — reverting to natural minor descending
• D. Either set of pitches, since the choice is purely ornamental

Answer: (C)

In traditional practice, melodic minor descends using natural minor — both the 6th and 7th revert to their unraised forms. Descending toward the tonic does not require a leading tone, so the pull of ♯7 is unnecessary; using natural minor's ♭7 and ♭6 gives a smooth, relaxed descent. This bidirectional character — two different pitch sets depending on direction — is melodic minor's defining feature.

Question 3

The harmonic minor scale raises both the 6th and 7th scale degrees to eliminate the augmented second.

• T. True
• F. False

Answer: False

Harmonic minor raises only the 7th scale degree, creating a leading tone. This produces an augmented second between the unraised ♭6 and the raised ♯7. Melodic minor is the scale that solves this problem by also raising the 6th ascending, smoothing out the gap. Confusing harmonic and melodic minor on this point is one of the most common errors in scale theory.

Question 4

Melodic minor uses different pitches when ascending versus descending in traditional practice.

• T. True
• F. False

Answer: True

This bidirectional character is what defines melodic minor. Ascending, both 6th and 7th are raised for smooth approach to the tonic with a leading tone. Descending, both revert to their natural-minor positions, because the leading-tone pull is unnecessary when moving away from the tonic. It is the only standard scale that explicitly changes based on melodic direction.

Question 5

What problem does melodic minor solve that harmonic minor creates, and how does it solve it?

Model answer: Harmonic minor raises the 7th scale degree to create a leading tone, but this leaves an augmented second (three semitones) between the ♭6 and the raised ♯7 — an interval too large to sing smoothly. Melodic minor solves this by also raising the 6th degree ascending, filling the augmented second with a smooth whole step while preserving the leading tone. The descending form reverts to natural minor because the leading tone is not needed moving away from the tonic.

The augmented second is not just a technical problem — it gives harmonic minor its distinctive exotic or Eastern quality, which is expressive in some contexts but inappropriate for smooth singable melody. Melodic minor is a practical solution: optimize the ascending path for smooth stepwise motion toward the tonic, and relax back to natural minor on the way down.