Major scale

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Major scale
Modes I, II, III, IV, V, VI, VII
Component pitches
C, D, E, F, G, A, B
Qualities
Number of pitch classes 7
Maximal evenness
Forte number 7-35
Complement 5-35
Major scales beginning with white keys Major scale1.jpg
Major scales beginning with white keys

The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth).

Contents

The simplest major scale to write is C major, the only major scale not requiring sharps or flats:

Major scale

The major scale has a central importance in Western music, particularly that of the common practice period and in popular music.

In Carnatic music, it is known as Sankarabharanam . In Hindustani classical music, it is known as Bilaval .

Structure

The pattern of whole and half steps characteristic of a major scale C major scale.png
The pattern of whole and half steps characteristic of a major scale

The intervals from the tonic (keynote) in an upward direction to the second, to the third, to the sixth, and to the seventh scale degrees of a major scale are called major. [1]

A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is:

whole, whole, half, whole, whole, whole, half

where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figure). [2]

Whole steps and half steps are explained mathematically in a related article, Twelfth root of two. Notably, an equal-tempered octave has twelve half steps (semitones) spaced equally in terms of the sound frequency ratio. The sound frequency doubles for corresponding notes from one octave to the next. The ratio is 3/2 = 1.5 for a perfect fifth, for example from C to G on a major scale, and 5/4 = 1.25 for a major third, for example from C to E.

A major scale may be seen as two identical tetrachords separated by a whole tone. Each tetrachord consists of two whole tones followed by a semitone (i.e. whole, whole, half).

The major scale is maximally even.

Scale degrees

Major scale

The scale degrees are:

Triad qualities

Major scale

The triads built on each scale degree follow a distinct pattern. The roman numeral analysis is shown in parentheses.

Seventh chord qualities

Major scale

The seventh chords built on each scale degree follow a distinct pattern. The roman numeral analysis is shown in parentheses.

Relationship to major keys

If a piece of music (or part of a piece of music) is in a major key, then the notes in the corresponding major scale are considered diatonic notes, while the notes outside the major scale are considered chromatic notes. Moreover, the key signature of the piece of music (or section) will generally reflect the accidentals in the corresponding major scale.

For instance, if a piece of music is in E major, then the seven pitches in the E major scale (E, F, G, A, B, C and D) are considered diatonic pitches, and the other five pitches (E, F/G, A, B, and C/D) are considered chromatic pitches. In this case, the key signature will have three flats (B, E, and A).

The figure below shows all 12 relative major and minor keys, with major keys on the outside and minor keys on the inside arranged around the circle of fifths.

The numbers inside the circle show the number of sharps or flats in the key signature, with the sharp keys going clockwise, and the flat keys counterclockwise from C major (which has no sharps or flats.) The circular arrangement depends on enharmonic relationships in the circle, usually reckoned at six sharps or flats for the major keys of F = G and D = E for minor keys. [3] Seven sharps or flats make major keys (C major or C major) that may be more conveniently spelled with five flats or sharps (as D major or B major).

Broader sense

The term "major scale" is also used in the names of some other scales whose first, third, and fifth degrees form a major triad.

The harmonic major scale [4] [5] has a minor sixth. It differs from the harmonic minor scale only by raising the third degree.

Major scale

The melodic major scale is the combined scale that goes as Ionian ascending and as Aeolian dominant descending. It differs from melodic minor scale only by raising the third degree to a major third. [6]

Major scale

The double harmonic major scale [7] has a minor second and a minor sixth. It is the fifth mode of the Hungarian minor scale.

Major scale

See also

Related Research Articles

In music theory, a diatonic scale is any heptatonic scale that includes five whole steps and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps, depending on their position in the scale. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other.

In Western musical notation, a key signature is a set of sharp, flat, or rarely, natural symbols placed on the staff at the beginning of a section of music. The initial key signature in a piece is placed immediately after the clef at the beginning of the first line. If the piece contains a section in a different key, the new key signature is placed at the beginning of that section.

In music theory, the term mode or modus is used in a number of distinct senses, depending on context.

In western classical music theory, the minor scale refers to three scale patterns – the natural minor scale, the harmonic minor scale, and the melodic minor scale.

In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music.

Tonality or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale.

In music, two written notes have enharmonic equivalence if they produce the same pitch but are notated differently. Similarly, written intervals, chords, or key signatures are considered enharmonic if they represent identical pitches that are notated differently. The term derives from Latin enharmonicus, in turn from Late Latin enarmonius, from Ancient Greek ἐναρμόνιος, from ἐν ('in') and ἁρμονία ('harmony').

An octatonic scale is any eight-note musical scale. However, the term most often refers to the ancohemitonic symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory, this symmetrical scale is commonly called the octatonic scale, although there are a total of 43 enharmonically inequivalent, transpositionally inequivalent eight-note sets.

A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.

<span class="mw-page-title-main">Modulation (music)</span> Change from one tonality to another

In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.

Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.

<span class="mw-page-title-main">Circle of fifths</span> Relationship among tones of the chromatic scale

In music theory, the circle of fifths is a way of organizing pitches as a sequence of perfect fifths. Starting on a C, and using the standard system of tuning for Western music, the sequence is: C, G, D, A, E, B, F/G, C/D, G/A, D/E, A/B, F, and C. This order places the most closely related key signatures adjacent to one another.

<span class="mw-page-title-main">Relative key</span> Major and minor scales with same key signature

In music, relative keys are the major and minor scales that have the same key signatures, meaning that they share all of the same notes but are arranged in a different order of whole steps and half steps. A pair of major and minor scales sharing the same key signature are said to be in a relative relationship. The relative minor of a particular major key, or the relative major of a minor key, is the key which has the same key signature but a different tonic.

In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods.

Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai ; one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.

Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes.

<span class="mw-page-title-main">Heptatonic scale</span> Musical scale with seven pitches

A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include:

<span class="mw-page-title-main">Harmonic major scale</span> Musical scale

In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz. It corresponds to the Raga Sarasangi in Indian Carnatic music, or Raag Nat Bhairav in Hindustani music.

The harmonic minor scale is a musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, creating an augmented second between the sixth and seventh degrees.

A synthetic mode is a mode that cannot be derived from the diatonic scale by starting on a different note. Whereas the seven modes are all derived from the same scale and therefore can coincide with each other, synthetic modes work differently.

<span class="mw-page-title-main">Diatonic and chromatic</span> Terms in music theory to characterize scales

Diatonic and chromatic are terms in music theory that are used to characterize scales. The terms are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.

The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz, although it may be found in other types of music as well. It may be derived from the major scale with a minor third, making it a synthetic scale, and features a dominant seventh chord on the fifth degree (V) like the harmonic minor scale. It can also be derived from the diatonic Dorian mode with a major seventh.

References

  1. Benward, Bruce & Saker, Marilyn (2003). Music: In Theory and Practice, Vol. I, p.52. Seventh Edition. ISBN   978-0-07-294262-0.
  2. "Major scale | music".
  3. Drabkin, William (2001). "Circle of Fifths". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan Publishers.
  4. Rimsky-Korsakov, Nikolai (2005). Practical Manual of Harmony. Carl Fischer, LLC. ISBN   978-0-8258-5699-0.
  5. Tymoczko, Dmitri (2011). "Chapter 4". A Geometry of Music. New York: Oxford.
  6. "Musicstudents.com - Free Sheet Music and Play-Along Soundfiles". Archived from the original on 2014-03-11. Retrieved 2014-03-13.
  7. Stetina, Troy (1999). The Ultimate Scale Book. p. 59. ISBN   0-7935-9788-9.

Further reading