Major and Minor Scales - Hands-Free Ear Training 16
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These exercises cover the most
These exercises cover the most common scales you will find in Western music and train your ears to quickly recognize them. The full playlist is available on my Patreon for 1$ with audio downloads, but will gradually be made available on this channel for free. See below for links and a listener's guide.
PATREON: https://www.patreon.com/JoeLuegersMusicAcademy
FREE YOUTUBE PLAYLIST: • Hands-Free Ear Training
Major Scale - The default scale. Everything relates back to the major scale, so make sure you know this pattern of whole and half steps- W-W-H-W-W-W-H. Practice singing the scale using numbers to fully internalize the sound. You should know whether or not a scale is a major scale by the time you get to scale degree 3. For all the minor scales, 3 is flattened and has a darker sound than the major scale.
Natural Minor Scale - Same formula as the major scale, but with scale degrees 3, 6, and 7 flattened. The defining characteristic of the natural minor scale is the flattened 7. This note is known as the subtonic and is the only scale we are covering here that has a subtonic. For most scales, the 7th scale degree is known as the leading tone because it is only a half step away from the tonic. This subtonic has less urgency to resolve to the tonic (scale degree 1) and gives the scale a different feel from the others.
Harmonic Minor Scale - Think of this as a major scale with a flat 3 and 6. The thing to listen for is the unexpected jump between scale degrees 6 and 7. Most scales are built from whole and half steps, but this jump is a half step larger than a whole step (1 1/2 steps). This interval is traditionally known as a minor 3rd, but in this case, you would call it an augmented 2nd because it is between two adjacent notes in the scale and staff. I've always thought of this scale as having an "exotic" sound, but that's probably just my diet-vanilla-whitebread ears talking.
Melodic Minor Scale - This is essentially a major scale with a flat 3. In the classical tradition, it's common to play this as a melodic minor scale going up, and then as a natural minor scale going down. In this exercise, I'm using the more modern approach of keeping it the same both ways. This is because jazz musicians who solo with this scale don't change the formula depending on the direction they are playing, and I generally find this more useful for anything other than composing baroque/classical-style music.
Thanks to @BrandonWalid, Martin Shaw, Tóth Ákos, Austin Kwan, and Rafael Belor for proof-watching this video.
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