Session 4: Minor Scale Mastery
Overview
Section titled “Overview”- Phase: 1 — Foundation Expansion
- Duration: 75 minutes
- Prerequisites: Completed Sessions 1-3. Can play 9 major scales (C, G, D, A, E, F, Bb, Eb, Ab) at 2 octaves hands together. Knows A, D, E natural minor from beginner course.
Learning Objectives
Section titled “Learning Objectives”By the end of this session, you will be able to:
- Play A harmonic minor, D harmonic minor, E harmonic minor, and G harmonic minor scales — 2 octaves, hands together
- Explain the difference between natural minor, harmonic minor, and melodic minor
- Identify the raised 7th degree that distinguishes harmonic minor from natural minor
- Perform a simplified arrangement of Beethoven’s “Moonlight Sonata” (1st movement theme) with both hands
- Identify natural minor and harmonic minor by ear
Materials Needed
Section titled “Materials Needed”- Casio CT-X9000IN keyboard (powered on, Grand Piano tone — Tone 000)
- Metronome set to 60 BPM
- Sustain pedal connected
- This lesson plan open beside you
Warm-Up & Review (10 minutes)
Section titled “Warm-Up & Review (10 minutes)”Scale Rotation (6 minutes)
Section titled “Scale Rotation (6 minutes)”Play each scale 2 octaves, hands together, 1 time through at 60 BPM:
- C major
- G major
- D major
- Bb major
- Eb major
Focus on the flat-key scales from last session — are they becoming more comfortable?
”Clair de Lune” Review (2 minutes)
Section titled “”Clair de Lune” Review (2 minutes)”Play the first 4 measures of “Clair de Lune” with both hands and pedal. Check: is the RH melody louder than the LH accompaniment?
A Natural Minor Review (2 minutes)
Section titled “A Natural Minor Review (2 minutes)”You learned A natural minor in the beginner course. Play it now, 1 octave, hands together:
This is the scale we are about to transform. Listen to it carefully — memorise its sound. It sounds “sad” but also “smooth.” That smoothness is about to change.
Theory / Harmony (10 minutes)
Section titled “Theory / Harmony (10 minutes)”Three Types of Minor Scales
Section titled “Three Types of Minor Scales”In the beginner course, you learned the natural minor scale. But there are actually three types of minor scales, and each sounds different. Here is why:
1. Natural Minor
Section titled “1. Natural Minor”The scale you already know. Uses only the notes from the key signature — no alterations.
A natural minor: A B C D E F G A
The interval pattern: whole - half - whole - whole - half - whole - whole (W-H-W-W-H-W-W)
The problem with natural minor: The 7th note (G) is a whole step below the root (A). In music theory, we want the 7th note to “pull” strongly toward the root — to create tension that resolves. A whole step does not pull hard enough. It sounds smooth but lacks that urgent “I need to go home” feeling.
2. Harmonic Minor
Section titled “2. Harmonic Minor”The solution: raise the 7th note by a half step. In A minor, G becomes G#.
A harmonic minor: A B C D E F G# A
Now the 7th (G#) is only a half step below the root (A). It creates a strong pull — a sense of tension and resolution. This is why it is called “harmonic” minor — it creates better harmony.
Play A natural minor ascending, then A harmonic minor ascending. Hear the difference? The G# gives harmonic minor a distinctive, almost exotic or dramatic quality. Many people describe it as “Middle Eastern” or “Spanish” sounding.
The characteristic interval: Between the 6th note (F) and the raised 7th (G#), there is an interval of 1.5 steps (an augmented 2nd). This wide gap is what gives harmonic minor its unique flavour.
3. Melodic Minor
Section titled “3. Melodic Minor”The harmonic minor’s augmented 2nd (F to G#) is dramatic, but it can sound awkward in smooth melodies. The melodic minor solves this by raising BOTH the 6th and 7th notes when ascending — but lowering them back to natural when descending.
A melodic minor ascending: A B C D E F# G# A A melodic minor descending: A G F E D C B A (back to natural minor)
For now, focus on harmonic minor. You will encounter melodic minor in passing, but harmonic minor is the one you will use most at the intermediate level.
Play all three on your keyboard, 1 octave, RH:
- A natural minor: A B C D E F G A
- A harmonic minor: A B C D E F G# A
- A melodic minor up: A B C D E F# G# A — then down: A G F E D C B A
Technique (15 minutes)
Section titled “Technique (15 minutes)”A Harmonic Minor — 2 Octaves, Hands Together
Section titled “A Harmonic Minor — 2 Octaves, Hands Together”Key of A harmonic minor: Same key signature as C major (no sharps or flats), BUT the 7th note (G) is always raised to G#.
RH — A Harmonic Minor, 2 Octaves:
LH — A Harmonic Minor, 2 Octaves:
Practice: RH alone 3 times, LH alone 3 times, then hands together at 50 BPM. Pay special attention to the G# — your fingers will want to play G natural out of habit from the natural minor scale.
D Harmonic Minor — 2 Octaves, Hands Together
Section titled “D Harmonic Minor — 2 Octaves, Hands Together”D harmonic minor: D E F G A Bb C# D (same key signature as F major — 1 flat, Bb — plus raised 7th C#)
RH — D Harmonic Minor, 2 Octaves:
LH — D Harmonic Minor, 2 Octaves:
Practice: same process. Note the interesting combination of Bb AND C# — a flat and a sharp in the same scale. This is the augmented 2nd interval that gives harmonic minor its character.
E Harmonic Minor — 2 Octaves, Hands Together
Section titled “E Harmonic Minor — 2 Octaves, Hands Together”E harmonic minor: E F# G A B C D# E (same key signature as G major — 1 sharp, F# — plus raised 7th D#)
RH — E Harmonic Minor, 2 Octaves:
LH — E Harmonic Minor, 2 Octaves:
G Harmonic Minor — 2 Octaves, Hands Together
Section titled “G Harmonic Minor — 2 Octaves, Hands Together”G harmonic minor: G A Bb C D Eb F# G (same key signature as Bb major — 2 flats, Bb and Eb — plus raised 7th F#)
RH — G Harmonic Minor, 2 Octaves:
LH — G Harmonic Minor, 2 Octaves:
Note the Eb and F# together — another augmented 2nd. This combination of a flat and a sharp gives G harmonic minor a particularly dramatic, exotic sound.
Repertoire / Genre (25 minutes)
Section titled “Repertoire / Genre (25 minutes)”“Moonlight Sonata” — 1st Movement Theme (Simplified)
Section titled ““Moonlight Sonata” — 1st Movement Theme (Simplified)”Beethoven’s Piano Sonata No. 14 in C# minor, “Quasi una fantasia” — universally known as the “Moonlight Sonata” — is one of the most famous piano pieces in history. The first movement features a hypnotic, repeating triplet pattern over a slow, solemn bass line.
This simplified arrangement captures the essential character of the opening theme. The original is in C# minor; this arrangement uses A minor for accessibility, preserving the mood and contour.
Tempo: 56 BPM (slow, solemn) | Time Signature: 4/4 | Key: A minor
Right Hand (triplet pattern):
The iconic RH pattern is a repeating broken chord — three notes played evenly across each beat (triplets). Each group of three gets one beat.
(4 groups of triplets, one per beat)
Left Hand:
Both Hands Together — Practice Strategy:
- RH triplet pattern alone — Start with just measure 1. The three notes (E, G#, C) form an A minor chord in a specific inversion. Play the triplet pattern slowly — three even notes per beat. Set metronome to 56 BPM and play 12 notes per measure (4 beats x 3 notes). Practice until automatic, then move to measure 2.
- RH measures 1-4 — These share a similar pattern. The chord changes but the rhythm stays the same. Play until smooth.
- RH measures 5-8 — Note the chord changes. Measure 7 has two different chords (one per half measure).
- LH alone, all measures — Simple whole notes. Very easy. Play 2 times.
- Both hands, measure 1 only — The LH holds a long note while the RH plays the triplet. This is the coordination challenge. Play 4 times.
- Both hands, measures 1-4 — Connect them. 3 times at 50 BPM.
- Both hands, measures 5-8 — 3 times.
- Full piece, both hands — Play through at 56 BPM.
Expression:
- Play the entire piece pp (very soft). The “Moonlight Sonata” is intimate, nocturnal music.
- Use the sustain pedal throughout — press at the start of each measure, release and re-press at each chord change.
- The RH triplets should be perfectly even — like a clock ticking — while the LH bass notes are deep and sustained.
- Listen to the G# in measures 1 and 3. This is the raised 7th of A harmonic minor — the note that gives this piece its haunting quality.
Creative / Ear Training (10 minutes)
Section titled “Creative / Ear Training (10 minutes)”Hearing the Three Minor Types
Section titled “Hearing the Three Minor Types”Exercise 1: A Minor — Three Flavours (4 minutes)
Section titled “Exercise 1: A Minor — Three Flavours (4 minutes)”Play these three scales back-to-back, 1 octave, RH only. Listen carefully to each:
- A natural minor: A(1) B(2) C(3) D(1) E(2) F(3) G(4) A(5) — smooth, sad, folk-song quality
- A harmonic minor: A(1) B(2) C(3) D(1) E(2) F(3) G#(4) A(5) — dramatic, exotic, the “Moonlight Sonata” sound
- A melodic minor (ascending): A(1) B(2) C(3) D(1) E(2) F#(3) G#(4) A(5) — brighter, almost major-ish
Play each one twice. Then mix them up — play one without deciding in advance and see if you can identify which type you played from the sound alone.
Ear training cue: The harmonic minor has that distinctive “jump” between F and G# (the augmented 2nd). The natural minor sounds smooth throughout. The melodic minor ascending sounds almost happy — surprisingly bright for a minor scale.
Exercise 2: Which Minor Is This? (3 minutes)
Section titled “Exercise 2: Which Minor Is This? (3 minutes)”Close your eyes. Play one of these three types of A minor at random. Can you identify it? Do this 5 times.
If you can get 3 out of 5 correct, you have a good start. By Session 13, you should be able to get 5 out of 5.
Exercise 3: Minor Scale Mood (3 minutes)
Section titled “Exercise 3: Minor Scale Mood (3 minutes)”Try D harmonic minor — D(1) E(2) F(3) G(1) A(2) Bb(3) C#(4) D(5) — RH, ascending.
Now improvise a short melody using only notes from D harmonic minor. Play slowly, use the sustain pedal, and try to create something that sounds mysterious or dramatic.
Hint: use the augmented 2nd (Bb to C#) deliberately — play Bb, then C#, then D. That three-note pattern is the “harmonic minor sound.”
Review & Homework (5 minutes)
Section titled “Review & Homework (5 minutes)”Summary
Section titled “Summary”Today you:
- Learned the difference between natural minor, harmonic minor, and melodic minor
- Played A, D, E, and G harmonic minor scales — 2 octaves, hands together
- Understood the raised 7th degree and the augmented 2nd interval
- Performed a simplified “Moonlight Sonata” arrangement — experiencing harmonic minor in real music
- Trained your ear to distinguish the three minor types
Self-Check Questions
Section titled “Self-Check Questions”- What note is raised in A harmonic minor compared to A natural minor?
- How does melodic minor differ from harmonic minor? (What happens ascending vs descending?)
- What is the characteristic interval in harmonic minor that gives it its exotic sound?
- In D harmonic minor, which note is flat and which note is sharp?
Practice Homework (Before Next Session)
Section titled “Practice Homework (Before Next Session)”- A harmonic minor scale — 10 minutes daily. 2 octaves, hands together, at 50 BPM. Target: 60 BPM.
- D harmonic minor scale — 10 minutes daily. Focus on the Bb + C# combination.
- E and G harmonic minor scales — 5 minutes each daily. Hands separate if needed, target hands together by end of week.
- “Moonlight Sonata” theme — 10 minutes daily. Work on RH triplets first — they must be perfectly even. Then add LH. Target: full piece at 56 BPM with pedal and pp dynamics.
- Major scale review — 5 minutes daily. Pick 3 major scales and play each once at 60 BPM to keep them fresh.
- Total: ~45-50 minutes daily
Common Mistakes to Watch For
Section titled “Common Mistakes to Watch For”- Forgetting the raised 7th: In A harmonic minor, G becomes G#. Your fingers will want to play G natural from muscle memory. Every time you play harmonic minor, remind yourself: “raised 7th.”
- Uneven triplets in “Moonlight Sonata”: The three notes of each triplet group must be perfectly evenly spaced. If one note is shorter or longer, the hypnotic quality is lost. Use the metronome and subdivide: each beat has 3 equal parts.
- Too loud on the “Moonlight Sonata”: This piece should be played pp. If you can hear it from another room, you are too loud. Let it whisper.
CT-X9000IN Tips
Section titled “CT-X9000IN Tips”Finding the Right Mood with Minor Key Tones
Section titled “Finding the Right Mood with Minor Key Tones”The “Moonlight Sonata” deserves a tone that matches its intimacy:
Tone suggestions:
- Grand Piano (Tone 000) — the default choice, always appropriate
- Dark Piano / Mellow Piano — if your CT-X9000IN has a darker piano variant, try it. The warmer tone suits the nocturnal mood.
- Electric Piano (Tone 004/005) — for a modern, atmospheric take on the piece. The sustain on EP tones can create a dreamy effect.
Touch response adjustment: Your CT-X9000IN has adjustable touch response sensitivity. For pp playing like the “Moonlight Sonata”:
- Press FUNCTION button
- Navigate to Touch Response settings
- Try setting it to Light — this means even a gentle touch produces a clear but soft sound
- Practice the piece with this setting. If you normally play too loudly, the Light setting will train you to use less force.
After the session, set touch response back to Normal for your regular practice.