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(Arak)
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A melodic scale is related to the major which is 3 semitones HIGHER.
So Db minor is related to E Major (not quite right - see `Note` below). Therefore the key signature is that of E major, i.e. F#, C#, G#, D#.
To play a Db NATURAL minor, we use that 4-sharps key signature and start on Db, with no accidentals.
Seeing we are using a sharp key signature, we should talk in sharps. We shall call the Db C#. The NATURAL minor scale then is
C# D# E F# G# A B C#.
To turn this into a MELODIC minor scale, we raise the sixth and seventh notes of the scale when going UP the scale, but return to the natural minor when going down.
This results in
C# D# E F# G# A# B# C# going up, and
C# B A G# F# E D# C# going down. (Of course you may think of the B# as C)
Note: Ignore the following if you get bogged down!).
We treated the Db as C#, Although these are the same notes on a piano (as a compromise), they are actually technically slightly different, and an experienced musician, when not playing with a keyboard, will adjust to such differences (and many other slight note differences.
Applying the above logic re forming scales, but keeping to flats.....
Db minor is related to Fb major. Technically speaking, Fb major has 8 flats, i.e. all notes flat except the B which is DOUBLE flat (think `A` if you like)
So Fb major is
Fb Gb Ab Bbb Cb Db Eb Fb
So Db NATURAL minor uses the same notes, but starts the scale 3 semitones lower....
Db Eb Fb Gb Ab Bbb Cb Db
Now, for the melodic minor we raise the 6th & 7th notes going up, and keep the natural minor coming down, resulting in:
Db Eb Fb Gb Ab Bb C Db
Dd Cb Bbb Ab Gb Fb Eb Db
You may notice that this is the same result as what we got before when talking sharps (compromises allowed for)
It is because there is a lot of mathematical theory behind scales, that when scales such as this are CORRECTLY written they can involve some double sharps or double flats written in the music, especially when modulating from one key to another.
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