| 1 | whole step | 2 | half step | 3 | whole step | 4 | whole step | 5 | half step | 6 | step and a half | 7 | half step | 8 |
87. The melodic minor scale substitutes a tone one half-step higher than six as well as one a half-step higher than seven, but this change is made in the ascending scale only, the descending scale being like the primitive form. The higher sixth (commonly referred to as the "raised sixth") was used to get rid of the unmelodic interval of a step-and-a-half[15] (augmented second), while the return to the primitive form in descending is made because the ascending form is too much like the tonic major scale.
| 1 | whole step | 2 | half step | 3 | whole step | 4 | whole step | 5 | whole step | 6 | whole step | 7 | half step | 8 |
| 7 | whole step | 6 | half step | 5 | whole step | 4 | whole step | 3 | half step | 2 | whole step | 1 |
This form is used only to a very limited extent, and then principally in vocal music, the harmonic form being in almost universal use in spite of the augmented second.
88. The minor scale in its various positions (up to five sharps and five flats) and in all three forms follows: a composition based on any one of these forms (or upon a mixture of them, which often occurs) is said to be in the minor mode. It will be noted that the first four tones are alike in all three forms; i.e., the lower tetrachord in the minor scale is invariable no matter, what may happen to the upper tetrachord. The sign + marks the step-and-a-half.
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Note.—The student is advised to recite the harmonic form of the minor scale as was suggested in the case of the major scale, noting that the "raised seventh" does not affect the key-signature. E.g.,—E—F♯—G—A—B—C—D♯—E; signature, one sharp, F.