1.
The chromatic scale
As the main scale of western music, the chromatic scale is coming from
the « cycle of fifths »:
F C G D A E B F # C # G # D # A#.
Chromatic scale:
C C# D D# E F F# G G# A A# B (Octave divided into 12 equal parts).
2. The diatonic scale
This scale comes from the first seven sounds of the cycle of fifths:
F C G D A E B.
Diatonic scale:
C D E F G A B C (5 tones + 2 semitones).
3. Modes
Seven additional scales called 'modes', come from the diatonic scale:
Ionian mode |
|
C D E F G A B C |
Dorian mode |
|
D E F G A B C D |
Phrygian mode |
|
E F G A B C D E |
Lydian mode |
|
F G A B C D E F |
Mixolydian mode |
|
G A B C D E F G |
Aeolian mode |
|
A B C D E F G A |
Locrian mode |
|
B C D E F G A B |
4. The «Ionien» major mode
It includes 8 degrees having a specific name:
1er degré | Tonic | |
2ème degré | Super-tonic | |
3ème degré | Mediant | |
4ème degré | Sub-dominant | |
5ème degré | Dominant | |
6ème degré | Sub-mediant | |
7ème degré | Leading tone | |
8ème degré | Octave |
5. The tetracords
The diatonic scale is divided into 2 « tetracords » of similar
composition (2 tones + 1 diatonic semi-tone).
Lower: Tetracord | C D E F | |
Upper: Tetracord | G A B C |
6.
The other major scales
The diatonic major scale can be transposed to the degrees of the
chromatic scale:
we obtain 15 new major scales:
Scales with sharps (#)
C major |
|
C D E F G A B C |
|
No accidentals |
G major |
|
G A B C D E F# G |
|
1 # |
D major |
|
D E F# G A B C# D |
|
2 # |
A major |
|
A B C# D E F# G# A |
|
3 # |
E major |
|
E F# G# A B C# D# E |
|
4 # |
B major |
|
B C# D# E F# G# A# B |
|
5 # |
F # major |
|
F# G# A# B C# D# E# F# |
|
6 # |
C # major |
|
C# D# E# F# G# A# B# C# |
|
7 # |
Scales with flats (b)
Fa major |
F G A Bb C D E F |
1 b |
||
Si b major |
Bb C D Eb F G A Bb |
2 b |
||
Mi b major |
Eb F G Ab Bb C D Eb |
3 b |
||
La b major |
Ab Bb C Db Eb F G Ab |
4 b |
||
Réb major |
Db Eb F Gb Ab Bb C Db |
5 b |
||
Solb major |
Gb Ab Bb Cb Db Eb F Gb |
6 b |
||
Dob major |
Cb Db Eb Fb Gb Ab Bb Cb |
7 b |
7. Structure of the modes
Each of the greek modes has a specific color:
Ionian Mode |
major 3rd + major 7th |
Dorian Mode |
minor 3rd + major 6th |
Phrygian Mode |
minor 2nd + perfect 5th |
Lydian Mode |
major 3rd + augmented 4th |
Mixolydian Mode |
major 3rd + minor 7th |
Aéolian Mode |
minor 3rd + minor 6th |
Locrian Mode |
minor 2nd + diminished 5th |
8. Application of the modes
In order to recognize these colors, we transpose these modes on a same tonic (eg. on C):
Ionian Mode | C D E F G A B C |
Dorian Mode | C D Eb F G A Bb C |
Phrygian Mode | C Db Eb F G Ab Bb C |
Lydian Mode | C D E F# G A B C |
Mixolydian Mode | C D E F G A Bb C |
Aéolian Mode | C D Eb F G Ab Bb C |
Locrian Mode | C Db Eb F Gb Ab Bb C |
9. Mixed modes
For each mode, the «modal» notes (2nd, 3rd, 6th
& 7th degrees), can be modified :
Eg. C – D or Db – E or
Eb – F – G – A or Ab – B or Bb – C
The changings are : b2 – b3 – b6 – b7
Notice : a combination b3 and
b7, with he 2nd and 6th degrees deleted, gives the blues scale