Scales

A scale arranges a selected set of pitches in order. C major uses C-D-E-F-G-A-B, and its step pattern can be moved to any other starting note. What Is a Scale? lets you count that pattern yourself.

Begin with What Is a Scale?, then The Major Scale for its formula, scale degrees and diatonic triads.

Then compare The Minor Scales: natural, harmonic and melodic minor.

Use What a Key Is to connect tonic, scale and chord function. The Circle of Fifths organizes key signatures and related keys.

Major has the formula 1-2-3-4-5-6-7.

Natural minor uses 1-2-flat 3-4-5-flat 6-flat 7. Harmonic Minor raises degree 7 for dominant harmony.

Harmonic Major keeps the major third and lowers degree 6. Compare one altered degree at a time from the same tonic.

Pentatonic and Blues Scales covers three practical collections:

Five-note scales leave more space between pitches. The blues scale adds a chromatic passing or inflected tension.

The Modes compares all seven from one tonic.

Use the individual guides for Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.

A mode requires a tonic. Sharing pitch classes with a relative major scale does not make both collections sound like the same key.

Modes of Melodic Minor gives formulas and chords for Lydian dominant, altered and the other five modes.

Bebop Scales adds one passing tone to organize chord-tone placement in continuous eighth-note lines.

These are chord-context tools. Identify the active chord and target tones before choosing a scale.

The Chromatic Scale contains all twelve pitch classes and explains passing, neighbor and approach notes.

Symmetric Scales covers whole-tone, diminished and augmented collections built from repeating interval cells.

Symmetry creates limited transpositions and multiple equivalent starting points. Bass and harmony can still establish a local center.

Double Harmonic and Related Scales separates double harmonic major, Hungarian minor and Phrygian dominant by formula.

These collections contain one or two augmented seconds. Use the exact name and notes instead of a broad cultural label.

Tone Systems Beyond Twelve-Tone Equal Temperament explains why maqam, raga and gamelan tuning cannot be reduced to unusual Western scales.

Pitch collection is only one layer. Intonation, melodic grammar, ornamentation, rhythm and tradition-specific practice also define the music.

Use sources and instruction from the tradition being studied.

Start with chord tones. A Cmaj7 chord contains C-E-G-B; C major supplies those notes plus D, F and A.

Check each added degree against the chord and progression. F may function as an active 11 over Cmaj7, while F sharp creates Lydian sharp 11.

A scale is a map of available relationships, not a requirement to play every note.

Keep one tonic drone and compare two related formulas. Name the changed degree before playing it.

Build the tonic chord and mark its chord tones inside the scale. Pause on each non-chord tone to hear its role.

Create short phrases with repeated rhythms and clear targets. Transpose only after the interval formula is secure.

Major | Minor | Keys | Circle of Fifths | Pentatonic and Blues | Modes | Harmonic Minor | Harmonic Major | Melodic-Minor Modes | Bebop | Chromatic | Symmetric | Double Harmonic | Tone Systems