T HE M AJOR S CALE - P ART 1 Classical Voice Conservatory Theory I

S CALES : A N O VERVIEW

T HINGS YOU N EED TO KNOW In order to understand scales, you must understand the following concept: Pretty much everything we’ve done up to now, more specifically accidentals, half steps and whole steps, enharmonic equivalents and tetrachords. Let’s get started!

S CALES : C ONSTRUCTION A Scale is a diatonic progression of notes from one note to the same note an octave higher or lower. Scales also follow a specific pattern of half steps and whole steps, just like tetrachords. The easiest way to construct a scale is to think of joining two adjacent tetrachords together with a whole step. Let’s try constructing a scale together!

Recall that a tetrachord’s pattern is Tonic, Whole Step, Whole Step, Half Step. Let’s pick the tonic C and construct a tetrachord from there. So this is what we get!

Next we ask ourselves, “What’s a whole step up from F?” Answer: G !

It’s G! So now let’s build a G tetrachord!

When we combine the C tetrachord and the G tetrachord, we get the C Major Scale ! Huzzah! :D

As long as you know how to build a tetrachord, you can build a scale just by combining two tetrachords together. Let’s try to construct more scales together on a difficult tonic: F#!

Obviously, we’ve established F# as our tonic, so now we need to build the tetrachord. Let’s write it on the staff in diatonic order first:

Next we add the accidentals. Obviously F# is our Tonic, so we’re going to add a sharp to our F. Remember, on the staff accidentals are always to the left of the note!

Now we follow the tetrachord pattern on the keyboard: Whole, Whole, Half.

It looks like a whole step up from F# could be G# or A b. But since tetrachords must be in diatonic order, we can’t skip over G. So it has to be Ab’s enharmonic equivalent, G#.

The same rules apply for A#. Since B is a half step up from A#, we don’t need to add an accidental. So we’re all set!

Now to complete the scale, we need to construct a tetrachord starting a whole step up from the last note of the tetrachord we just finished. So what’s a whole step up from B?

It could be Db or C#, but just like tetrachords, scales must also be in diatonic order. So our only option is C#. While we’re at it, let’s but the C# tetrachord in diatonic order.

Now let’s refer to our keyboard and follow the tetrachord pattern to complete our C# tetrachord:

A whole step from C# is either D# or Eb. But since it needs to be in diatonic order, our only option is D#.

A whole step from D# is F or E#. Once again, we need to be in diatonic order, so E# is our only option. And obviously, since this is supposed to be an F# Major Scale, we end this tetrachord with F#.

With these tetrachords combined, we have successfully built an F# Major Scale! Yay!

A C OUPLE OF E XTRA T HINGS ABOUT S CALES They must be in diatonic order. They are the basis for music compositions- all compositions and their harmonic structures are based on Major scales. When people refer to keys in music, they are talking about what scale the song/piece they are discussing is based on. The first note of a scale and the last note of a scale is called the tonic. A Major Scale will have either sharps OR flats … it will not have both !

Questions?