Fundamentalsof

SCALESANDKEYSIGNATURES

PARTATETRACHORDS
1.TetrachordStructure
a.Atetrachordisaseriesoffourtonesonsuccessivedegreesofthestaffwith
anintervaloffivehalfstepsbetweenthefirstandlasttones.Thetetrachordis
usedinconstructingandanalyzingscales.
b.Tetrachordsusedarethemajor(M),minor(m),natural(N),andharmonic
(H).Anytetrachordmaybeconstructedonanypitchandwillretaintheinterval
relationshipofthetetrachord.
2.MajorTetrachord(M).Themajortetrachordiscomposedoftwohalfsteps,two
halfsteps,andonehalfstepascendingonfoursuccessivestaffdegrees(Figure12).

Figure12:MajorTetrachords

3.MinorTetrachord(m).Theminortetrachordiscomposedoftwohalfsteps,onehalfstepand
twohalfstepsascendingonfoursuccessivescaledegrees(Figure13).

Figure13:MinorTetrachords.

4.NaturalTetrachord(N).Thenaturaltetrachordiscomposedofonehalfstep,two
halfstepsandtwohalfstepsascendingonfoursuccessivestaffdegrees(Figure14).

Figure14:NaturalTetrachords.
5.HarmonicTetrachord(H).Theharmonictetrachordiscomposedofonehalfstep,
threehalfsteps,andonehalfstepascendingonfoursuccessivestaffdegrees(Figure
15).

Figure15:HarmonicTetrachords.
6.ScaleConstructionUsingTetrachords
a.Scalesconstructedwithtetrachordscombinetwotetrachordsandalink
(abbreviatedL).Thelinkisalwayscomposedoftwohalfsteps(awholestep)
onadjacentstaffdegrees.Thelinkmaybeplacedatthebottom,inthemiddle,
oratthetopofthescale.Thecombinationoftwotetrachordsandalinkforma
scalethatencompassesanoctave(Figure16).

Figure16:TetrachordsandLinkinScaleConstruction.
b.Thecombinationoftwotetrachordsandalinkformascalethatencompasses
anoctave.Anoctaveisanintervalcontainingtwelvehalfsteps.Itisthe

distancefromonepitchtothenexthigherorlowerpitchwiththesameletter
nameCC(Figure17).

Figure17:OctaveonaPianoKeyboard.
PARTAMAJORSCALES
1.MajorScaleStructure.
a.TheformulaforamajorscaleisMajor(M),Link(L),Major(M)(Figure2
1).

Figure21:MajorScaleFormula.

b.Themajorscaleisaseriesofeightsuccessiveascendingordescending
pitcheswithaspecifiedintervalpattern.Amajorscalebeginsandendswiththe
samelettername(uppercase)ofthemusicalalphabet(AA).
c.Thescale'swholestepandhalfstepintervalrelationshipcorresponds,ona
keyboard,toawhitekeyscalefromCtoC(Figure22).
NOTE:Upperandlowercaselettersareusedtodifferentiatebetweenmajorand
minorkeys.Uppercaselettersrepresentmajorkeys(CMajor).Lowercaseletters
representminorkeys(cminor).

Figure22:CMajorScaleonKeyboard.
2.UseofChromaticSignsinMajorScaleConstruction.Toconstructascaleother
thanCMajor,chromaticsigns( or )mustbeusedtomaintainthescaleformula
(wholestep/halfstep).TheDMajorscaleiswrittenwithchromaticsignsonthethird
andseventhnotes(Figure23).

Figure23:DMajorScale.
PARTBSCALESANDKEYSIGNATURES
3.Scales.
a.Thefirstnoteofamajorscalegivesthescaleitsidentityorname.For
example,amajorscalebeginningonthenoteE iscalledan"E Majorscale"
(Figure24).

Figure24:E MajorScale.
b.Musicalcompositionsarebasedonscales.AcompositionbasedonanE
MajorscaleissaidtobeinthekeyofE Major(Figure25).

Figure25:MelodyinE .

SELFREVIEWEXERCISE#1
Constructingmajorscales.
4.KeySignatures.
a.Akeysignatureisthegroupingofchromaticsignsthathavebeenextracted
fromascaleandplacedaftertheclefsign.Thenumberofflatsorsharpsina
keysignaturedeterminesthekeyofacomposition.
b.TheE Majorscalehasakeysignatureofthreeflats(Figure26).

Figure26:ExtractingAccidentalsforKeySignatures.
c.TheE Majorscalewiththekeysignatureinplace,lookslikethis(Figure2
7).

Figure27:E MajorKeySignature.
5.PlacementofSharpsinaKeySignature.
a.Sharpsareplacedonthestaffinthefollowingorder(Figure28).

Figure28:OrderofSharps.
b.Todeterminethisorder,beginonF (thefirst addedtothestaff).Countup
fiveletternamestoC .ThenbeginonC andcountupfivemoreletternames
toGsharp.Continuethispatternuntilallsevensharpsareidentified(Figure2
9).

Figure29:DeterminingOrderofSharps.
c.Sharpsareplacedonastaffinaspecificpattern.Thefirstsharp,F ,is
placedonthefifthlineofthetreblestaffandthefourthlineofthebassstaff.
Thesecondsharp,C ,isplacedbelowthefirstsharp.Thethirdsharpisup,the
fourthsharpdown,thefifthsharpdown,thesixthsharpup,andtheseventh
sharpdown.Figure210indicatesthecorrectplacementofsharpsinakey
signature.

Figure210:PlacementofSharps.
6.PlacementofFlatsinaKeySignature.
a.Flatsareplacedonthestaffinthefollowingorder(Figure211).

Figure211:OrderofFlats.
b.Todeterminetheorderofflats,beginonBflat(thefirstflataddedtothe
staff).CountupfourletternamestoE .ThenbeginonE andcountupfour
moreletternamestoA .Continuethispatternuntilallsevenflatshavebeen
identified(Figure212).

Figure212:DeterminingOrderofFlats.

c.Thefirstflat,B ,isplacedonthethirdlineofthetreblestaffandonthe
secondlineofthebassstaff.Thesecondflat,E ,isplacedabovethefirstflat.
Thethirdflatisdown,thefourthup,thefifthdown,thesixthup,andthe
seventhdown(Figure213).

Figure213:PlacementofFlats.
NOTE:Theorderofflatsinakeysignatureisoppositetheorderofsharps(Figure
214).

Figure214:OrderofFlatsandSharps.
7.CircleofMajorKeys.MajorkeysarearrangedinacirclestartingwithCand
progressingthroughthesharpkeysclockwiseandtheflatkeyscounterclockwise.This
formsthecircleofmajorkeys,alsocalledthecircleoffifths(Figure215).

Figure215:CircleofMajorKeys(Fifths).
8.DerivingMajorKeyNamesfromKeySignatures.
a.Sharpkeys.Thenameofthesharpmajorkeyisthesameasthelettername
ofthescaledegreeabovethelastsharpinthekeysignature(Figure216).

Figure216:DeterminingSharpKeyNames.

b.Flatkeys.Thenameoftheflatmajorkeyisthesameastheletternameof
thescaledegreefivestepsabovethelastflatinthekeysignature(Figure217).

Figure217:DeterminingFlatKeyNames.
c.Whentherearetwoormoreflatsinthekeysignature,thekeynameisthe
nameofthenexttothelastflat(Figure218).

Figure218:DeterminingFlatKeyNames.
d.Ifthekeysignaturehasnoflatsorsharps,thekeysignaturenameisCMajor.
PARTCSCALEDEGREE
9.ScaleDegreeNamesforMajorScales."Scaletone,""scalestep,"and"scale
degree"allmeanthesamething.Eachscaletone,step,ordegreeisalsoknownbya
moreformalmusicalterm(Figure219).

Figure219:NamesofScaleDegrees.
a.Tonic.Thetonicisthebeginningscaledegree(thefirstscalestep)ofascale.
Itisthemostimportantscaledegree.Thetonicgivesthescaleitsidentity.Ina
CMajorscale,Cisthetonicscaledegree(Figure220).

Figure220:TonicScaleDegree.
b.Dominant.Thenextmostimportantscaledegreeisthedominant.The
dominantisthefifthscaledegree.InaCMajorscale,Gisthedominantscale
degree(Figure221).

Figure221:TheDominantScaleDegree.
c.Subdominant.Thescaledegreefivesteps(fifth)belowthetonicisthe
subdominant.Itisthefourthscaledegree.Thesubdominantscaledegreeisthe
dominantunder(sub)thetonic.Itisnextinimportancetothedominant.InaC
Majorscale,thesubdominantisF(Figure222).

Figure222:SubdominantScaleDegree.
d.Mediant.Midwaybetweenthetonicandthedominantisthethirdscale
degree.Itiscalledthemediant.InaCMajorscale,Eisthemediantscale
degree(Figure223).

Figure223:MediantScaleDegree.

e.Submediant.Thesixthscaledegree,midwaybetweentheuppertonicandthe
subdominant,isthesubmediant.InaCMajorscale,Aisthesubmediantscale
degree(Figure224).

Figure224:SubmediantScaleDegree.
f.Supertonic.Thetoneabove(super)thetonic,orthesecondscaledegree,is
calledthesupertonic.InaCMajorscale,Disthesupertonicscaledegree
(Figure225).

Figure225:SupertonicScaleDegree.
g.Leadingtone.Theseventhscaledegreeistheleadingtone.Ithasastrong
tendencytopushupward(lead)tothetonic.InaCMajorscale,Bistheleading
tone(Figure226).

Figure226:LeadingTone.
PARTDSCALEDEGREEACTIVITY
10.ScaleDegreeActivityinMajorKeys.Scaledegreesareclassifiedintothreetype
oftones:stable,active,andtendency(Figure227).

Figure227:ScaleDegreeActivityinMajorKeys.
a.Stabletoneshaveasoundqualitythatsuggestscompletenessandstability
(Figure228).

Figure228:StableTonesinMajorKeys.
b.Activetoneslackstabilityandwanttomovetowardastabletone.Normally,
anactivetonemovestoanadjacentnoteinthescale(Figure229).

Figure229:ActiveTonesinMajorKeys.
c.Tendencytonesareactivetonesthatpulltowardaparticularpitch.Tendency
tonestendtomoveahalfsteptoanadjacentscaledegree.Aleadingtone
movestothetonicunlessitispartofadescendingscalewisemotion.The
subdominantmovestothemediantunlessitispartofscalewisemotionthatis
ascending(Figure230).

Figure230:TendencyTonesinMajorKeys.

MINORSCALESANDKEYSIGNATURES

NaturalMinorScaleStructure
a.Theformulaforanaturalminorscaleisminor(m),Link(L),Natural(N).A
naturalminorscaleisaseriesofeightconsecutivenoteswiththeintervals
betweennotesbeingtwohalfsteps,onehalfstep,twohalfsteps,twohalfsteps,
onehalfstep,twohalfsteps,twohalfsteps(Figure31).

Figure31:NaturalMinorScale.
b.Onakeyboard,theintervalrelationshipscorrespondtoawhitekeyscale
fromatoa(Figure32).

Figure32:"a"NaturalMinorScale.
MinorKeysandKeySignatures
a.Thetonicnoteofaminorscalegivesthekeyofthescale.Forexample,a
minorscalewithatonicof"c"isinthekeyofcminor.
b.Todeterminetheorderofsharpminorkeys,beginwiththekeywithnoflats
orsharps("a"minor).Countupfivescaledegrees(eminor).Then,starton"e"
andcountupfivemorescaledegrees.Continuethisuntilallkeysareidentified
(Figure33).

Figure33:DeterminingOrderofSharps.

c.Althoughthetonicsinnaturalminordifferfrommajor,theplacementof
sharpsremainsthesame(Figure34).

Figure34:PlacementofSharps.
d.Tofindtheorderofflatminorkeys,beginwiththekeyofnoflatsorsharps
("a"minor).Countupfourscaledegrees(dminor).Then,starton"d"and
countupfourmorescaledegrees.Continuethisuntilallkeysareidentified
(Figure35).

Figure35:DeterminingOrderofFlats.
e.Althoughthetonicsinnaturalminordifferfrommajor,theplacementofflats
remainsthesame(Figure36).

Figure36:PlacementofFlats.
3.CircleofMinorKeys.
Sincethenatural,harmonic,andmelodicminorscalessharethesamegroupofkey
signatures,itispossibletoconstructonecircleoffifthsforallthreeformsofthescale
(Figure37).

Figure37:CircleofMinorKeys(Fifths).
4.DerivingMinorKeyNamesfromKeySignatures.
a.Theletternameofthescaledegreeimmediatelybelowthelastsharpinthe
keysignatureistheminorkeynameforsharpkeys(Figure38).

Figure38:DerivingNamesofSharpKeys.

NOTE:Thisisoppositetomajorkeyswheretheletternameabovethelastsharpis
thekeyname.
b.Forminorflatkeys,findthenameofthekeybycountingupthreescale
degreesabovethelastflat(Figure39).

Figure39:DerivingNamesofFlatKeys.

5.NaturalMinorScaleDegreeNames.
Thescaledegreenamesfornaturalminorscalesarethesameasformajorscales
exceptfortheseventhscaledegree.Theseventhscaledegreeiscalledthesubtonic
whenitistwohalfsteps(wholestep)belowthetonic(Figure310).

Figure310:NaturalMinorScaleDegreeNames.
6.NaturalMinorScaleDegreeActivity.
a.Comparedtoamajorscaleonthesametonic,thenaturalminorscalehasa
loweredmediant(third),loweredsubmediant(sixth)andasubtonic(seventh)
(Figure311).

Figure311:ComparingMajorandNaturalMinorScales.
b.Thescaledegreeactivityinnaturalminorscalesisdifferentfrommajor
scalesbecausethepatternofwholestepsandhalfstepsisdifferent(Figure3
12).

Figure312:MajorandNaturalMinorScaleDegreeActivity.

7. Harmonic Minor Scale Structure.

a.Theformulafortheharmonicminorscale
isminor(m),link(L),harmonic(H).Theharmonicminorscaleisidenticalin
structuretothenaturalminorscale,exceptforaraisedseventh(leadingtone)
degree.Theintervalsbetweennotesofaharmonicminorscalearetwohalf
steps,onehalfstep,twohalfsteps,twohalfsteps,onehalfstep,threehalf
steps,onehalfstep(Figure313).

Figure313:HarmonicMinorStructure.
b.Thewholestep/halfstepintervalrelationshipsinharmonicminordonot
correspondtoanywhitekeyscale(Figure314).

Figure314:"a"HarmonicMinorScale.
NOTE:Natural,harmonic,andmelodicminorscaleshavethesamekeysignature.
Theraisedseventhscaledegreeoftheharmonicscalesandtheraisedsixthand
seventhscaledegreesintheascendingmelodicminorscalesareindicatedby
accidentals.Theseaccidentalswillnotappearinthekeysignature.
8.HarmonicMinorScaleDegreeNames.

Scaledegreenamesfortheharmonicminorscalesarethesameasforthemajor
scales(Figure315).

Figure315:HarmonicMinorScaleDegreeNames.
9.HarmonicMinorScaleDegreeActivity.
a.Theharmonicminorscaleevolvedbecauseofthelackoftendencytonesin
naturalminor.Theharmonicformoftheminorscaledevelopsabetterbalance
oftendencytonesinminorkeys(Figure316).

Figure316:ScaleDegreeActivity.
b.Thethreehalfsteps(augmentedsecond)betweenthesubmediantandthe
leadingtonecancausemelodicproblems.
10.MelodicMinorScaleStructure.
a.Ascending.TheformulafortheascendingmelodicminorscaleismLM.
Unlikeothermajorandminorscales,theascendingformofthemelodicminor
scaleisdifferentfromitsdescendingform.Theintervalsbetweenthenotesof
theascendingmelodicminorscalearetwohalfsteps,onehalfstep,twohalf
steps,twohalfsteps,twohalfsteps,twohalfsteps,onehalfstep(Figure317).

Figure317:MelodicMinorStructure(Ascending).

b.Raisethesixthandseventhscalesdegreesofanaturalminorscaleonehalf
steptoformtheascendingmelodicminorscale(Figure318).

Figure318:MelodicMinor(Ascending).
c.Descending.TheformulaforadescendingmelodicminorscaleisNLm.
Theintervalsbetweenthenotesarethesameastheintervalsofadescending
naturalminorscale,ortwohalfsteps,twohalfsteps,onehalfstep,twohalf
steps,twohalfsteps,onehalfstep,twohalfsteps(Figure319).

Figure319:MelodicMinorStructure(Descending).

d.Theraisedsixth(submediant)andraisedseventh(leadingtone)scaledegrees
oftheascendingmelodicminorscaleareloweredinthedescendingmelodic
minorscale.Therefore,thedescendingmelodicminorscaleisidenticaltothe
descendingnaturalminorscale(Figure320).

Figure320:MelodicMinor(Descending).
11.MelodicMinorScaleDegreeNames.
a.ThescaledegreenamesforascendingmelodicminorareshowninFigure3
21.

Figure321:MelodicMinorScaleDegreeNames(Ascending).
b.Thescaledegreenamesforthedescendingmelodicminorscalearethesame
asthescaledegreenamesforthedescendingnaturalminorscale.
12.MelodicMinorScaleDegreeActivity.Figure322showsthescaledegreeactivity
formelodicminor.

Figure322:ScaleDegreeActivity.
13.ParallelKeys
Parallelkeysarekeysthathavethesametonicbutdifferentkeysignatures.For
example,thekeyofFmajorandfminorareparallelkeys(Figure323).

Figure323:ParallelKeys.
14.RelativeKeys
a.Majorandminorkeysthathavethesamekeysignaturearecalledrelative
keys.Relativekeysdonothavethesametonic(Figure324).

Figure324:RelativeKeys.
b.Thesixthscaledegreeofthemajorscaleisthetonicoftherelativeminor
scale(Figure325).

Figure325:RelativeKeyIdentification.
NOTE:Becauseofthisrelationship,youcandeterminetheminorkeysignatureby
firstdeterminingthemajorkeysignature.Thenameofthesubmediant(inthe
majorkey)isthenameoftherelativeminortonic.
c.Thethirdscaledegreeoftheminorscaleisthetonicoftherelativemajor
(Figure326).

Figure326:RelativeMajorandMinor.
MODALSCALES

INTRODUCTION
IntheMiddleAges,musicwasoftencomposedofeighttonescalesthatdidnotfollow
thepatternofmajorandminorscales.Theseearlyscaleswerecalledmodes.Modal
scaleshavesincebeenusedinmanyperiodsandstylesofmusic.
Mostmodalscalesareclassifiedasmajororminor.Themajormodalscalesare:
Lydian,Ionian,andMixolydian.Theminormodalscalesare:Dorian,Aeolian,and
Phrygian.TheLocrianmodalscaleisneithermajornorminor,ittendstowardminor
andwillbediscussedwiththeminormodalscales.
1.Lydian.
a.TheformulafortheLydianmodalscaleisLMM(Figure41).

Figure41:LydianFormula.
b.TheLydianscale'shalfstep/wholestepintervalrelationshipcorrespondstoa
whitescalefromFtoFonapianokeyboard(Figure42).

Figure42:LydianModeonPianoKeyboard.
c.ACircleofLydianKeyscanbeconstructedtorepresenttheremainingLydian
scalesbyusingtheMajorCircleofFifthsandshiftingthenumberofsharpsand
flatsonekeytotheright.Youcanfigureoutthenumberofflatsorsharpsby
subtractingoneflatoraddingonesharptotheparallelmajorscale.TheFLydian
scalehasnoflatsorsharps(Figure43).

Figure43:CircleofLydianKeys.
d.TheLydianscalehasaraisedsubdominant( 4)whencomparedtoitsparallel
(sametonic)majorscale(Figure44).

Figure44:LydianandParallelMajor.

2.Ionian.
a.TheformulafortheIonianmodalscaleisMLM.
b.TheIonianmodalscaleisidenticaltoamajorscale.
3.Mixolydian.
a.TheformulafortheMixolydianmodalscaleisMMLorMLm(Figure45).

Figure45:MixolydianFormula.
b.TheMixolydianscale'shalfstep/wholesteprelationshipcorrespondstoa
whitekeyscalefromGtoGonthepianokeyboard(Figure46).

Figure46:MixolydianModeonPianoKeyboard.
c.ACircleofMixolydianKeyscanbeconstructedtorepresenttheremaining
MixolydianKeysbyusingtheMajorCircleofFifthsandshiftingthenumber
ofsharpsandflatsonekeytotheleft.Youcanfigureoutthenumbersofflats

orsharpsbysubtractingonesharporadding1flattotheparallelmajorscale.
TheGMixolydianscalehasnosharpsorflats(Figure47).

Figure47:CircleofMixolydianKeys.
d.TheMixolydianscalehasasubtonic( 7),insteadofaleadingtone,when
comparedtoitsparallelmajorscale(Figure48).

Figure48:MixolydianandParallelMajor.
4.Dorian.
a.TheformulafortheDorianmodalscaleismLm(Figure49).

Figure49:DorianFormula.
b.TheDorianscale'shalfstep/wholesteprelationshipcorrespondstoawhite
keyscalefromDtoDonapianokeyboard(Figure410).

Figure410:DorianModeonPianoKeyboard.
c.ACircleofDorianKeyscanbeconstructedtorepresenttheremaining
DorianKeysbyusingtheMajorCircleofFifthsandshiftingthenumberof
sharpsandflatstwokeystotheleft.Youcanfigureoutthenumberofsharps
andflatsbysubtractingtwosharpsoraddingtwoflatstotheparallelmajor
scale.ThedDorianscalehasnoflatsorsharps(Figure411).

Figure411:CircleofDorianKeys.
d.TheDorianscalehasaloweredmediant( 3)andsubtonic( 7)when
comparedtoitsparallelmajorscale(Figure412).

Figure412:DorianandParallelMajor.
e.TheDorianscalehasaraisedsubmediant( 6)whencomparedtoitsparallel
naturalminorscale(Figure413).

Figure413:DorianandParallelMinor.
5.Aeolian.
a.TheformulafortheaeolianmodalscaleismLN.
b.Theaeolianmodalscaleisidenticaltothenaturalminorscale.
6.Phrygian.
a.TheformulaforthePhrygianmodalscaleisNLN(Figure414).

Figure414:PhrygianFormula.

b.ThePhrygianscale'shalf/wholesteprelationshipcorrespondstoawhitekey
scalefromEtoEonthepianokeyboard(Figure415).

Figure415:PhrygianModeonPianoKeyboard.
c.ACircleofPhrygianKeyscanbeconstructedbyusingtheMajorCircleofFifths
andshiftingthenumberofflatsfourkeystotheleft.Youcanfigureoutthenumber
offlatsorsharpsbyaddingfourflatsorsubtractingfoursharpstotheparallel
majorscale.TheePhrygianscalehasnoflatsorsharps(Figure416).

Figure416:CircleofPhrygianKeys.
d.ThePhrygianscalehasaloweredsubtonic( 2),mediant( 3),submediant(
6),andsubtonic( 7)whencomparedtoitsparallelmajorscale.(Figure417).

Figure417:PhrygianandParallelMajor.
e.ThePhrygianscalehasaloweredsupertonic( 2)whencomparedtoitsparallel
naturalminorscale(Figure418).

Figure418:PhrygianandParallelMinor.

7.Locrian
a.TheformulafortheLocrianmodalscaleisNNL(Figure419).

Figure419:LocrianFormula.
b.TheLocrianscale'shalf/wholesteprelationshipcorrespondstoawhitescale
keyfromBtoBonapianokeyboard(Figure420).

Figure420:LocrianModeonPianoKeyboard.
c.ACircleofLocriankeyscanbeconstructedbyusingtheMajorCircleof
Fifthsandshiftingthenumberofflatsfivekeystotheleft.Youcanfigureout
thenumberofflatsorsharpsbyaddingfiveflatsorsubtractingfivesharpsto
theparallelmajorscale.ThebLocrianscalehasnoflatsorsharps(Figure4
21).

Figure421:CircleofLocrianKeys.
d.TheLocrianscalehasaloweredsupertonic(flat2),mediant(flat3),
dominant(flat5),submediant(flat6),andsubtonic(flat7)whencomparedto
itsparallelmajorscale.Thesubdominantistheonlyscaledegreethatremains
unaltered(Figure422).

Figure422:LocrianandParallelMajor.
8.IDPLMAL.
a.AneasywaytoremembermodalscalesistouseamnemonicIDPLMAL,
whichstandsforIDontPunchLikeMuhammadALi.Eachletterstandsfora
modalscale:IforIonian,DforDorian,PforPhrygian,LforLydian,Mfor
Mixolydian,AforAeolianandLforLocrian.
b.Byassigningthenumbersfrom1to7foreachletterofIDPLMAL,youcan
determinethescaledegreeofamajorscaleamodalscalestartsonandthen
buildamodelforthatmodalscale(Figure423).
MODALSCALE
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian

SCALEDEGREE
1
2
3
4
5
6
7

Figure423:IDPLMAL.
c.Anotherwaytoremembermodalscalesistorelatethemtoamajorscaleand
howeachscaledegreeisaltered.(Figure424).

Figure424:ComparisonofModalScaleDegreestoMajorScaleDegrees.

CHROMATIC,WHOLETONEANDPENTATONICSCALES

INTRODUCTION
Chromatic,wholetone,andpentatonicscalescannotbeanalyzedusingtetrachords.
Thesescalesdonotformregularkeysanddonothaveregularkeysignatures.
Chromaticandwholetonescalesrequireaccidentalswhenusedwithkeysignatures.
1.TheChromaticScale.
a.Thechromaticscaleconsistsentirelyofhalfsteps.Therearetwelvehalf
stepsorthirteenpitchesinanoctave.Ifallthirteenpitchesarerepresentedin
ascendingordescendingorder,theresultisachromaticscale.Thenameofthe
chromaticscaleisthefirstnoteofthescaleregardlessofthekeysignature
(Figure51).

Figure51:DChromaticScale.

b.Whennotatingchromaticscales,anypitchrequiringanaccidentaliswritten
asachromaticalterationofthepreviouspitch(Figure52).Usesharpswhen
ascendingandflatswhendescending.

Figure52:AccidentalsinaChromaticScale.
c.Avoiddoublesharpsanddoubleflatswhennotatingchromaticscales.Use
naturalsignsonadjacentstaffdegreestoavoiddoublesharpsanddoubleflats.
2.TheWholeToneScale.
a.Thewholetonescale,asitnameimplies,isconstructedusingwholesteps.
Accidentalsareusedtocreatewholesteps(Figure53).

Figure53:WholeToneScale.
b.Thewholetonescaleconsistsofsevenpitchesinsteadofeight(includingthe
octave).Oneofthestaffdegreeswithinthescalewillnotcontainanote.
3.PentatonicMajorScale.
a.APentatonicMajorscaleisconstructedstartingonthefirstdegreeofa
Majorscale.APentatonicMajorscalecontainsthetonic(1),supertonic(2),
mediant(3),dominant(5),andthesubmediant(6)ofaMajorscale(Figure5
4).

Figure54:ScaleDegreesinPentatonicMajor.
b.ThePentatonicMajorscalecorrespondstoablackkeyscaleonthekeyboard
fromG toG (Figure55).

Figure55:GflatPentatonicMajorScaleonPianoKeyboard.
c.ThetonesomittedarethetendencytonesinaMajorScale:thesubdominant
(4)andtheleadingtone(7).
4.PentatonicMinorScale.
a.APentatonicminorscaleisconstructedstartingonthefirstdegreeofa
naturalminorscale.APentatonicminorscalecontainsthetonic(1),mediant
(flat3),subdominant(4),dominant(5),andsubtonic(flat7)ofanaturalminor
scale(Figure56).

Figure56:ScaleDegreesinPentatonicMinor.
b.ThePentatonicminorscalecorrespondstoablackkeyscaleonthepiano
keyboardfromE toE (Figure57).

Figure57:EflatPentatonicMinorScaleonPianoKeyboard.
c.Thetonesomittedaretheactivetoneandtendencytonewhichformhalf
stepsinnaturalminor:thesupertonic(2)andsubmediant( 6).