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List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
Such labeling requires the choice of a "first" note; hence scale-degree labels are not intrinsic to the scale itself, but rather to its modes. For example, if we choose A as tonic, then we can label the notes of the C major scale using A = 1, B = 2, C = 3, and so on. When we do so, we create a new scale called the A minor scale.
Chromatic scale drawn as a circle The diatonic scale notes (above) and the non-scale chromatic notes (below) [2] The twelve notes of the octave—all the black and white keys in one octave on the piano—form the chromatic scale. The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one ...
In other words, it is the interval between two consecutive scale degrees. Any larger interval is called a skip (also called a leap), or disjunct motion. [1] In the diatonic scale, a step is either a minor second (sometimes also called half step) or a major second (sometimes also called whole step), with all intervals of a minor third or larger ...
So in C minor, the tonic is actually G and the leading tone is A ♭ (a half step), rather than, in major, the root being C and the leading tone B (a half step). Also, since all chords are analyzed as having a tonic, subdominant, or dominant function, with, for instance, in C, A minor being considered the tonic parallel (tP) (US relative), the ...
The Aeolian mode is the sixth mode of the major scale, that is, it is formed by starting on the sixth degree of the major scale. For example, if the Aeolian mode is used in its all-white-note pitch based on A, this would be an A-minor triad, which would be the submediant in the relative major key of C major.
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In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
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