There are several other scales, as we will see in other topics. Whenever we use the term “diatonic” or “diatonic note”, we are saying that this note belongs to the natural tonality (or natural key) that is, the note is part of a major or minor natural scale. The name “ diatonic” means “to move by the tonic”. The “natural major” and the “natural minor” scales are also called major diatonic scale and minor diatonic scale. In the next articles you will understand the subject of degrees well, so don’t worry if you found these terms strange. As there are other types of major and minor scales, these basic scales that we just saw are called “ natural scales“, as they are the most basic and primitive in music study. That is why it was decided to call the first scale “major scale” and the second “minor scale”. On the “minor” scale, these degrees are minor. On the “major” scale, these degrees are major. The difference of these scales is in the third, sixth and seventh degrees. Okay, back to the subject, you may be wondering why one scale is called “major” and the other “minor”. Each instrument has its pros and cons! Natural Scales However, the keyboard has numerous other facilitating advantages. That’s great, isn’t it? It means that we only need to memorize one shape for each scale! On the keyboard, we don’t have that privilege. Then check the generated notes against the table shown earlier. Try this out by making this same shape of the C major scale starting from the D note. Note: On the fretboard, to obtain the scale of another note (in addition to the “C” note that we show), just move this same shape to the desired note. Note: if you are a keyboardist/pianist and have not learned the sheet music yet, check the shapes on the keyboard below: Actually, the preference for the second description has a deeper meaning, as it facilitates the observation of harmonic functions, but don’t worry about that now.Ĭheck the sheet music and tablature of the major scale and the minor scale: C major scale But in literature you will probably find the second description, for the reason mentioned. In the first case, the notes E and B do not appear.ĭoes that change anything? It does not. Why? Simply because all 7 notes appeared in it (with or without alterations – sharp/flats). Usually the minor scale of C is written in the second way and not the first. Note that the scale is absolutely the same the only difference is that before it was written with sharps (#), and now it was written with the flats (b). We could then rewrite the above sequence as: do, re, mib, fa, sol, lab, tib, do. The notes re#, sol# and la# are equivalent, respectively, to mib, lab and tib. It goes like this: do, re, re#, fa, sol, sol#, la#, do … repeating the cycle.
Just follow this sequence starting with the C note. You are already able to build that scale. The one called “ minor scale“, for example, is formed from the following sequence: tone, semitone, tone, tone, semitone, tone, tone… repeating the cycle. We will show you the major scale of the 7 basic notes:įor other scales, we have other sequences to be followed (other intervals). Do this as an exercise and then check it out below. In the second case, the major scale of G.įollowing the same logic, we can build the major scale of all the 12 notes we know. In the first case, we form the major scale of C. Notice how the same logic was followed (tone, tone, semitone, tone, tone, tone, semitone). The scale would then be: sol, la, ti, do, re, mi, fa#, sol… We could use this same sequence (major scale) starting from a note that was not C, but for example: G. This sequence of distances was: tone, tone, semitone, tone, tone, tone, semitone… repeating the cycle. On this scale, we start with the do note and follow a well-defined sequence of intervals until the return to the do note again. For example: do, re, mi, fa, sol, la, ti, do… repeating this cycle.
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