Going up, the melodic scale looks almost identical to the major scale with the exception of the lowered third scale degree (“me”). Perhaps the most unusual of the three minor scales, the sequence of the melodic minor varies depending on whether the scale is ascending or descending. (Do – Re – Me – Fa – Sol – La – Ti – Do – Te – Le – Sol – Fa – Me – Re – Do)
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The unique sound of the harmonic minor scale occurs between the sixth and seventh scale degrees in which, rather than employing a whole step or half step, the scale jumps the length of a whole step PLUS a half step (the space between “le” and “ti”): whole – half – whole – whole – half – whole + half – half.
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The result of this alteration is a lowered third, sixth, and seventh scale degree in comparison to the major scale. The natural minor scale contains the same number of whole steps and half steps as the major scale but alters the order to produce the following sequence: whole – half – whole – whole – half – whole – whole. (Do – Re – Me – Fa – Sol – Le – Te – Do) Though all three versions of this scale maintain the “minor” quality (darker, gloomier sound due to the lowered third scale degree), the tonal modifications found in each scale produce a noticeable difference of feeling, therefore providing distinctive purposes within compositions. Unlike major scales, minor scales use more than one type of tonal sequence. This sequence applies to ALL major scales and can consequently be transposed into any key. The first whole step occurs between C4 and D4, while the first half step occurs between E4 and F4. Major scales are built on the following tonal sequence: whole – whole – half – whole – whole – whole – half.
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Like all scales, the major scale is made up of a series of whole steps (the larger steps, also called “whole tones”) and half steps (the smaller steps, also called “semitones”). For those singers who are new to singing scales, the easiest way to conceptualize scales is to imagine a staircase-some of the steps are larger and some of the steps are smaller, but all of the steps lead to the duplication of the starting pitch. Both the major and minor scales contain seven pitches plus the repetition of the starting pitch an octave higher. Major scales are by far the most familiar scale structure to singers and usually the first type of scale introduced in voice lessons. (Do – Re – Mi – Fa – Sol – La – Ti – Do) Each scale increases in difficulty from the last-begin with major scales and advance onto the next as each scale becomes comfortable and has been sung throughout the vocal range. I’ve listed four of the scales most often used by singers below, all of which begin on Middle C so that the scales can easily compare to each other. For example, the singer can choose whether to sing a scale on vowels or solfège syllables, whether to sing an ascending scale, a descending scale, or both methods combined as one vocal exercise, and which direction to develop within the vocal range. Scales can be sung in a variety of ways and offer the opportunity for customization depending on each singer’s needs and goals. Additionally, because one scale typically covers several pitches spanning an octave, practicing scales challenges and expands the vocal range.
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Singing scales improves pitch memory (the ability to hear notes and phrases and accurately sing those notes and phrases), which is essential to any singer’s ear training. One of the reasons that scales maintain such popularity is because they’re seen as a pathway to good technique, and rightfully so. Likewise, chances are that most singers have dealt with singing scales at some point as a vocal warm up in their lessons, in their repertoire, or in their general practice routine. As a voice teacher of students diverse in age and experience level, I’ve undoubtedly heard more requests for learning and practicing scales than any other vocal exercise from singers in voice lessons.