music book (draft - scales)

By Aydin Anic

First Edition

The foundation of music theory

The building blocks of

music

i

This book is intended for an audience that wishes to begin learn-ing the foundations of music theory. All the examples in the book will use conventional music notation on music staffs. The content in the book can be used by any musician, studying any instrument. I wanted to utilise the piano to create an accompa-nying audio track for the examples in this book; therefore, I used the grand staff on which the piano is notated for the exam-ples. I hope this book will aid you in your quest to understand the basic foundations of music theory.

Foreword

1Scales

In This Chapter:

1. The structure of scales;

2. Major scales;

3. Minor scales;

4. Modes;

5. Other scales;

3

The structure of scales:

Scales are the building blocks of fundamental music theory, they are organised in a specific pattern using an organisational system in music known as ‘intervals’. They come in two forms, which are: semi-tones and whole-tones. This book will explore the two most common scales types, which are: Major and Minor scales. These two scales types are associated with forming key signatures in music (which we will explore later in the book).

In this book, all the examples will be placed on music staffs using traditional notation. I have outlined the notes on the two clefs that are used in this book with an accompanying audio track.

Section 1

Scales

Treble clef notes

Notes on staff

TrebleA.Anic

C D E F G A B C

D E F G A B C D

Piano

4

The Minor scale:

The relationship between scales:

You may have noticed I used the C major scale and the A minor scale in the previous example; these scales are related. If you exam-ine the notes in the scales they contain the same notes (no sharp-ened or flattened notes). Every Major scale has a relative minor scale, this can be found by finding the sixth harmonic degree of the major scale, which indicates the starting note for the relative minor scale.

Intervals of the major and minor scale:

There is a system in place that forms scales; this is referred to as ‘in-tervals’. Intervals come in two forms, which are: semi-tones and whole-tones. Major scales and minor scales are organised in a spe-cific pattern using intervals.

The Major scale:

Scales The foundation of music theory: The building blocks of music

Notes on staff

BassA.Anic

B C D E F G A B

C D E F G A B C

Piano

Bass clef notes

C major scale

Relative major to the A minor scaleA.Anic

C D E F G A B C

C B A G F E D C

Piano

Intervals of the major scale

Semitones and wholetonesA.Anic

C

Whole tone

D

D

Whole tone

E

E

Semitone

F

F

Wholetone

G

G

Wholetone

A

A

Wholetone

B

B

Wholetone

C

Piano

Intervals of the A minor scale

Semitones and WholetonesA.Anic

A B

B C

C D

D E

E F

F G

G A

Piano

5

We find that they have the exact same notes but organised in a differ-ent order. In the next section, we will explore the relationship between major and minor chords more closely.

Major and minor scales can be organised in two categories, which are: Scales (major or minor) in flats and sharps.

A minor scale

Relative minor to the C major scaleA.Anic

A B C D E F G A

A G F E D C B A

Piano

In the following sections, we will explore the major scale and the mi-nor scale. More precisely, analysing the relationship between the major scales and the formation of subsequent major scales with the use of sharps and flats. This can be explored by examining the intervalic relationship between the notes in the scale. In the previ-ous pages, we have explored the intervals of a major and minor scale; this exact relationship between the notes in the scale must remain, otherwise the scale cannot be structured. Sharps and flats help in creating the intervalic relationship that structure the scale required.

Scales (continued) The foundation of music theory: The building blocks of music

In This Section, We Will Explore:

1. The formation of Major scales;

2. The categorisation of Major scales;

3. How to use scales

6

To learn how major scales are constructed, we must learn the differ-ent major scales, they can be categorised in two forms. Major scales that contain sharps and major scales that contain flats. The use of sharps and flats keep the intervalic relationship constant, music is built on symmetry; therefore, the pattern has to be maintained in or-der for the scale to be constructed. The major scale contains seven different notes, these notes are organised in a harmonic series or de-grees. For example, if we examine the C major scale, we find the first note labelled the 1st harmonic degree and the second note the 2nd harmonic degree and so on.

Section 2

Major scales




C

Whole tone

D

D

Whole tone

E

E

Semitone

F

F

Wholetone

G

G

Wholetone

A

A

Wholetone

B

Semitone

B C

Piano

7

In the following pages, you will find the major scales organised in two categories, which are: sharps and flats. The scales are organ-ised from one sharp to seven sharps and from one flat to seven flats. This is organised using the cycle of fourth’s and fifths.

If we start with the C major scale (which contains no sharps and flats) and look at the fifth note in the harmonic series, which is the note “G”.

This note is the tonic for the next major scale containing one sharp, if we explore the intervals without the use of sharps we find that the intervals differ from a major scale:

G A B C D E F G

The seventh note (F) in relation to the octave (G) is one whole tone. This interval must be a semitone, therefore, the F must be raised by a semitone to F#. So, if we rewrite the scale again, we find that the scale contains one sharp (F#).

G A B C D E F# G

Again, examining the fifth note in the G major scale (D), that is the next note with which the next scale is written. In the previous scale, (G major scale) which contains the F# is transferred to the next scale.

D E F# G A B C# D.

This process is repeated until seven scales which contain sharps are created. If we examine the pattern that is emerging, we find that the seventh note in the scale is sharpened and the previous altered notes are transferred into the next scale. On the following pages, you will find all of the major scales that contain sharps in the order of sharps.

C major scale

Relationship between scalesA.Anic

C D E F G A B C

C B A G F E D C

Piano

Major scales The foundation of music theory: The building blocks of music

8

Major scales (Sharps)

C major scale

G Major scale

G Major scale

SubtitleComposer

G A B C D E F G

G F E D C B A G

Piano

D Major scale

SubtitleComposer

D E F G A B C D

D C B A G F E D

Piano

D Major scale

A Major scale

A major scale

SharpsA.Anic

A B C D E F G A

A G F E D C B A

Piano

C Major scale

SubtitleComposer

C D E F G A B C

C B A G F E D C

Piano

The foundation of music theory: The building blocks of music

9

E major scale

SharpsA.Anic

E F G A B C D E

E D C B A G F E Piano

E major scale

B major scale

SharpsA.Anic

B C D E F G A B

B A G F E D C B

Piano

B major scale

F# major scale

SharpsA.Anic

F G A B C D E F

F E D C B A G F Piano

F# major scale

C# major scale

SharpsA.Anic

C D E F G A B C

C B A G F E D C Piano

C# major scale

Major scales (Sharps continued) The foundation of music theory: The building blocks of music

10

Similarly, there is a sequence to the organisation of flats in the other category of major scales. Again, the C major scale is used as the starting point, if we examine the C major scale

(Insert the c major scale here)

The fourth harmonic degree of the scale (F) is the starting point in the sequence. Recalling the major scales with sharps, the seventh harmonic degree is raised by a semitone; the major scales contain-ing flats, the fourth harmonic degree must be lowered by a semi-tone (flattened) in order for the wholetone-semitone sequence to remain.

If we begin the scale on the fourth harmonic degree with no altera-tions we find the following sequence

This is the lydian mode from the key of C major, we must lower the ‘B’ by a semitone (Bb).

Again, to continue the sequence, the fourth harmonic degree of the F major scale (Bb) is the next scale that will contain two flats. Remember, the fourth harmonic degree will be lowered by a semi-tone, here is the scale without the alteration:

Bb C D E F G A Bb

We find that the major third (D) is one whole tone to (E), in order to be a major scale, the major third must be a semitone to the fourth harmonic degree, therefore, the E must be flattened to be-come Eb.

Bb C D Eb F G A Bb

On the following pages, the scales are organised in sequence to the number of flats.

F major scale

Without the altered noteA.Anic

F

wholetone

G

G

Wholetone

A

A

Wholetone

B

B

Semitone

C

C

Wholetone

D

D

Wholetone

E

E

Semitone

F

Piano

F major scale

Without the altered noteA.Anic

F

wholetone

G

G

Wholetone

A

A

Semitone

B

BWholetoneC

C

Wholetone

D

D

Wholetone

E

E

Semitone

F

Piano

Major scales (Flats) The foundation of music theory: The building blocks of music

11

C Major scale

SubtitleComposer

C D E F G A B C

C B A G F E D C

Piano


C major scale

F major scale

FlatsA.Anic

F G A B C D E F

F E D C B A G F Piano

F Major scale

Bb major scale

FlatsA.Anic

B C D E F G A B

B A G F E D C B

Piano

Bb Major scale

Eb major scale

FlatsA.Anic

E F G A B C D E E D C B A G F E

Piano

Eb Major scale

12

Ab major scale

FlatsA.Anic

A B C D E F G A A G F E D C B A

Piano

Ab Major scale

Db major scale

FlatsA.Anic

D E F G A B C D

D C B A G F E D Piano

Db Major scale

Gb major scale

FlatsA.Anic

G A B C D E F G G F E D C B A G

Piano

Gb Major scale

Cb major scale

FlatsA.Anic

C D E F G A B C

C B A G F E D C Piano

Cb Major scale


In This Section, We Will Explore:

1. The minor scale

2. The modes from the minor scale

3. The chord sequence

4.

13

We will look at the minor scale and the sequence in which it is organised with respect to sharps and flats, the minor scale uses the same intervalic relationship, which are: semitones and whole tones. In this section, the relationship between the major and minor scale will be revealed. In the previous section, we ex-plored the organisation of sharps and flats in major scales that contain sharps and flats. Similarly, minor scales are organised in the same manner.

This is the A minor scale examined in the whole-tone/semi-tone sequence.

Section 3

Minor scales

Intervals of the minor scale

Intervals of the minor scale


Wholetone

A B

Semitone

B C

Wholetone

C D

Wholetone

D E

Semitone

E F

Wholetone

F G

Wholetone

G A

Piano

14

In the following pages, we will explore the minor scale and how the sharps and flats are organised to create the intervalic relation-ship needed to create a minor scale. If we examine the A minor scale and look at the fifth harmonic degree of the scale (E).

(insert scale)

We find that this note is the tonic for the next scale in accordance with the cycle of fourth’s and fifth’s, this scale contains one sharp (F#).

If we begin the next scale (E minor scale) without the alteration we have the following:

E F G A B C D E

The first harmonic and second harmonic degree are one semi-tone apart, therefore, the second harmonic degree must be raised by a semi-tone to F# to keep the whole-tone/semi-tone sequence correct.

E F# G A B C D E

Again, if we examine the E minor scale:

E F# G A B C D E

The fifth harmonic degree (B) is the new tonic in the sequence (B minor). This scale must contain two sharps. If we examine this scale with ONE sharp, we have the following:

B C D E F# G A B

Similarly, the first and second harmonic degree is one semi-tone apart, this needs to be a whole-tone, therefore, we raised the second harmonic degree by one semi-tone, making it C#.

The scale will now become:

B C# D E F# G A B

This process is continued until seven sharps are achieved, refer to the next page for all of the minor scales containing sharps.

Minor scales The foundation of music theory: The building blocks of music

15

Minor scales (sharps) The foundation of music theory: The building blocks of music

A minor scale

E minor scale

sharpsA.Anic

E F G A B C D E

E D C B A G F E

Piano

E Minor scale

B minor scale

sharpsA.Anic

B C D E F G A B

B A G F E D C B

Piano

B minor scale

F# minor scale

sharpsA.Anic

Piano

F# minor scale

A minor Scale

SharpsA.Anic

A B C D E F G A

A G F E D C B A

Piano

16

C# minor scale

sharpsA.Anic

C D E F G A B C

C B A G F E D C

Piano

C# minor scale

G# minor scale

sharpsA.Anic

G A B C D E F G

G F E D C B A G

Piano

G# minor scale

D# minor scale

sharpsA.Anic

D E F G A B C D

D C B A G F E D

Piano

D# minor scale

A# minor scale

sharpsA.Anic

A B C D E F G A

A G F E D C B A

Piano

A# minor scale

Minor scales (sharps continued)

17

The A minor scale (which contain no sharps and flats) will be used to start the second part of the minor scale analysis.

Insert scale here

The fourth harmonic degree of the scale (D) is the tonic for the next scale in the cycle of fourth’s and fifth’s.

If we write the scale without the altered note we have the follow-ing:

D E F G A B C D

We actually get the D dorian scale from the key of C major (refer to the previous pages)

The fifth and sixth harmonic degree is one whole-tone, this needs to be one semitone, therefore, we must lower the sixth note to a Bb

The D minor scale:

D E F G A Bb C D

The intervalic relationship for the minor scale is as follows:

D - E = Whole tone

E - F = Semitone

F - G = Whole tone

G - A = Whole tone

A - Bb = Semitone

Bb - C = Whole tone

C - D = Whole tone

18

A minor Scale

SharpsA.Anic

A B C D E F G A

A G F E D C B A

Piano

D minor scale

FlatsA.Anic

D E F G A B C D

D C B A G F E D

Piano

D minor scale

G minor scale

FlatsA.Anic

G A B C D E F G

G F E D C B A G

Piano

G Minor scale

C minor scale

FlatsA.Anic

C D E F G A B C

C B A G F E D C

Piano

C Minor scale

Minor scales (flats)

19

F minor scale

FlatsA.Anic

F G A B C D E F

F E D C B A G F

Piano

F Minor scale

Bb minor scale

FlatsA.Anic

B C D E F G A B

B A G F E D C B

Piano

Bb Minor scale

Eb minor scale

FlatsA.Anic

E F G A B C D E

E D C B A G F E

Piano

Eb Minor scale

Ab minor scale

FlatsA.Anic

A B C D E F G A

A G F E D C B A

Piano

Ab Minor scale

Minor scales (flats continued)

AeolianThis mode is from the sixth note of the harmonic series from a major scale, this mode creates a minor triad. This mode is known as the relative minor scale of the major scale.

Related Glossary Terms

Index

Drag related terms here

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Chord tonesThey are the notes within a chord that determines they quality of the chord.


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ChordsAn arrangement of notes that form a particular chord, they are derived from scales by selecting a set of notes based on the unit of measurement.


Index


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DorianThe dorian mode is the second mode in the harmonic series within a major scale, this mode constructs a minor triad.


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Dotted rhythmsA dotted rhythm is when a rhythm is augmented by half the value. This is employed to avoid the constant use of of note ties and allows the music to be readable.


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IntervalsThe unit of measurement in music theory between two notes, the intervalic relationship determines the quality the collection of notes creates within a chord.


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InversionsInversions are chords that are not in root position, the notes within a chord are rear-ranged to form a variation of the existing chord.


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Ionian modeEvery Major scale is also known as the first mode.


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LocrianThis mode is from the seventh note of the harmonic series from a major scale, this mode creates a diminished triad.


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LydianThis mode is from the fourth note of the harmonic series from a major scale, this mode creates a major triad.


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MixolydianThis mode is from the fifth note of the harmonic series from a major scale, this mode creates a major triad.


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ModesReferred to as a scale within a scale, a mode is constructed when a scale begins on another note other than the tonic and finishes the scales corresponding note. There are seven different notes within in a scale, which results in seven different modes. These modes form the basis on which the seven different chords are extrapolated and can be used within a key signature.


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PhrygianThis mode is found on the third note of the harmonic series of a major scale, this mode constructs a minor triad.


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Repeat signIndicates to the performer to repeat a certain amount of bars shown by the repeat bar signs


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RhythmLorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor in-cididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exer-citation ullamco laboris nisi ut aliquip ex ea commodo consequat.


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ScalesA system used in music to construct chords, modes, melodies and other musical ele-ments. They are the building blocks of music theory.


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SyncopationIs a type of rhythm that has the notes placed on the ‘off beat’, this form of rhythm is synonymous with reggae music.


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music book (draft - scales)

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