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The G-sharp minor scale has five sharps and sits almost entirely on the black keys. In the harmonic and melodic forms, the seventh note becomes F-double-sharp, the white key G. It helps to think of the scale as shapes on the black keys rather than a list of sharps, and to treat the two white keys as landmarks for the thumbs.
| G-sharp Minor Scale Overview | |
|---|---|
| Keyboard Layout | |
| Staff Layout | |
| Key Signature | Five sharps (F♯, C♯, G♯, D♯, A♯) |
| Notes of Scale | G♯, A♯, B, C♯, D♯, E, F♯, G♯ |
| RH Fingering | 3 4 - 1 2 3 - 1 2 3 |
| LH Fingering | 3 2 1 - 4 3 2 1 - 3 |
| Relative Scale | B Major Scale |
| Parallel Scale | A-flat Major Scale |
These charts show the overall layout, or terrain, of the G-sharp minor scale in each of its three forms.

The natural minor uses five black keys and just two white keys, B and E. Like its relative major, B major, it’s built around the groups of black keys.

The harmonic minor raises the seventh note to F-double-sharp, which is played on the white key G. That creates a wide space between E and F-double-sharp, right before the top G-sharp.

Going up, the melodic minor raises the sixth and seventh notes to E-sharp and F-double-sharp, played on the white keys F and G, so the top of the scale becomes two white keys in a row, just below the top G-sharp. Coming down, it returns to the natural minor (first tab).
Let’s take each hand separately first. It helps to think of the scale in terms of its core positions, the two groups of notes the hand can cover without moving: three notes played with 1-2-3 (red on the charts) and four played with 1-2-3-4 (blue).
The core positions don’t begin on the keynote. The right hand begins with fingers 3 and 4 on G-sharp and A-sharp, then plays B, C-sharp, and D-sharp on 1-2-3, and E, F-sharp, and G-sharp on 1-2-3. The left hand plays G-sharp, A-sharp, and B on 3-2-1, and C-sharp, D-sharp, E, and F-sharp on 4-3-2-1, ending with the third finger on the top G-sharp.
The charts below show the core positions of the G-sharp minor scale in each of its three forms.






A useful way to work with the core positions is in three stages:
When we put the hands together in G-sharp minor, the sync points are the thing to follow: the moments where both hands land on the same finger, or where the fingers form a mirror image. They fall in the same places in all three forms, even though some of the notes change, and the examples below use the harmonic minor.
The 3rd fingers meet on G-sharp, D-sharp, and the top G-sharp.
The thumbs come together on B, and fingers 1 and 2 form a mirror image on E and F-double-sharp.
The same three stages work for sync points:
Because neither hand uses the fifth finger, extending the G-sharp minor scale to more octaves is mostly a matter of letting the core positions keep repeating. The fingering at the top and bottom stays exactly as it is in one octave.
F-double-sharp, in the harmonic and melodic forms, is played on the white key G. It looks unusual on the staff; it helps to think of it as the white key just below the top G-sharp.
Five sharps can look intimidating, but the natural minor is simply the black keys plus B and E. Those two white keys are the landmarks for the thumbs.
Other techniques related to the G-sharp minor piano scale:
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