What are all the scales based on the major scale?
up vote
4
down vote
favorite
I've heard that there are 7 different scales based on the major scale, like the minor scale, which is made by shifting the major scale pattern 6 to the right. What are the names of the other scales made by shifting the whole step pattern?
theory scales modes
add a comment |
up vote
4
down vote
favorite
I've heard that there are 7 different scales based on the major scale, like the minor scale, which is made by shifting the major scale pattern 6 to the right. What are the names of the other scales made by shifting the whole step pattern?
theory scales modes
essentially i think music has a general rule of three. therefore, the triad.
– GibralterTop
2 days ago
1
@GibralterTop -- "rule of three"? I've never heard of this, it makes no sense, and what does this have to do with OP's question?
– David Bowling
yesterday
add a comment |
up vote
4
down vote
favorite
up vote
4
down vote
favorite
I've heard that there are 7 different scales based on the major scale, like the minor scale, which is made by shifting the major scale pattern 6 to the right. What are the names of the other scales made by shifting the whole step pattern?
theory scales modes
I've heard that there are 7 different scales based on the major scale, like the minor scale, which is made by shifting the major scale pattern 6 to the right. What are the names of the other scales made by shifting the whole step pattern?
theory scales modes
theory scales modes
edited 2 days ago
user45266
1,605324
1,605324
asked 2 days ago
public static void main
1678
1678
essentially i think music has a general rule of three. therefore, the triad.
– GibralterTop
2 days ago
1
@GibralterTop -- "rule of three"? I've never heard of this, it makes no sense, and what does this have to do with OP's question?
– David Bowling
yesterday
add a comment |
essentially i think music has a general rule of three. therefore, the triad.
– GibralterTop
2 days ago
1
@GibralterTop -- "rule of three"? I've never heard of this, it makes no sense, and what does this have to do with OP's question?
– David Bowling
yesterday
essentially i think music has a general rule of three. therefore, the triad.
– GibralterTop
2 days ago
essentially i think music has a general rule of three. therefore, the triad.
– GibralterTop
2 days ago
1
1
@GibralterTop -- "rule of three"? I've never heard of this, it makes no sense, and what does this have to do with OP's question?
– David Bowling
yesterday
@GibralterTop -- "rule of three"? I've never heard of this, it makes no sense, and what does this have to do with OP's question?
– David Bowling
yesterday
add a comment |
1 Answer
1
active
oldest
votes
up vote
6
down vote
accepted
You mean the "modes" of the major scale.
Starting on the first note of the major scale the mode names are...
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
With a scale of C major we can say something like the second mode of C major scale is the D Dorian mode.
As you described, you can get the modes of a major scale by permutating through it by moving up by steps. But another way to create modes is by adding sharps and flats to either a major or minor scale.
If you start with a C major scale and then add a flat on the ^7 tone to lower it, you will have the C Mixolydian mode. So, here is the list of modes again, with notes about those alterations.
- Ionian (same as major scale)
- Dorian (natural minor with a raised ^6 tone)
- Phrygian (natural minor with a lowered ^2 tone)
- Lydian (major with a raised ^4 tone)
- Mixolydian (major with a lowered ^7 tone)
- Aeolian (same as natural minor)
- Locrian (natural minor with lowered ^2 and ^5 tones)
Whether you permutate the major scale or lower/raise tones you will see that the sequence of whole steps and half steps is the same for each mode. In other words the whole/half step sequence is the same for the D Dorian mode of the C major scale and the C Dorian mode.
As a side comment...
It's true when you move up 6 or down 3 from the first note of the major scale (the tonic) you go the relative minor, or the natural minor scale, but keep in mind there are three inflections of the minor scale...
- natural minor
- harmonic minor (where the ^7 tone is raised a half step)
- melodic minor (where the ^6 and ^7 tones are raised by half step)
1
Or it could be said the melodic minor is the parallel major with a lowered third...But melodic has two incarnations - the classical, where ascending is different from descending, and jazz melodic, where it's the same up and down.
– Tim
2 days ago
@Tim, I was tempted to answer that way: melodic minor is major with a lowered third. If figured that is the jazz conception (esp. because jazz uses modes of mel. minor.) But, I really dislike the 'classical' textbook asc/desc distinction with melodic minor. It simply isn't true. Direction doesn't make the distinction, but the prevailing harmony. If the harmony is dominant and the scale descends, raised ^6 and ^7 may be used. I think I'll post my own question re. the historic origin of the textbook description. I don't know what it is.
– Michael Curtis
2 days ago
Unfortunately, the exam boards seem to have a different concept from ours! Harmonic is from the harmony angle, melodic is from the way the tune itself meanders, and fills that 3 semitone gap without the jarring the harmonic minor would produce.
– Tim
2 days ago
So says the teaching. Anyway, I posted a new question music.stackexchange.com/questions/77060
– Michael Curtis
2 days ago
add a comment |
1 Answer
1
active
oldest
votes
1 Answer
1
active
oldest
votes
active
oldest
votes
active
oldest
votes
up vote
6
down vote
accepted
You mean the "modes" of the major scale.
Starting on the first note of the major scale the mode names are...
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
With a scale of C major we can say something like the second mode of C major scale is the D Dorian mode.
As you described, you can get the modes of a major scale by permutating through it by moving up by steps. But another way to create modes is by adding sharps and flats to either a major or minor scale.
If you start with a C major scale and then add a flat on the ^7 tone to lower it, you will have the C Mixolydian mode. So, here is the list of modes again, with notes about those alterations.
- Ionian (same as major scale)
- Dorian (natural minor with a raised ^6 tone)
- Phrygian (natural minor with a lowered ^2 tone)
- Lydian (major with a raised ^4 tone)
- Mixolydian (major with a lowered ^7 tone)
- Aeolian (same as natural minor)
- Locrian (natural minor with lowered ^2 and ^5 tones)
Whether you permutate the major scale or lower/raise tones you will see that the sequence of whole steps and half steps is the same for each mode. In other words the whole/half step sequence is the same for the D Dorian mode of the C major scale and the C Dorian mode.
As a side comment...
It's true when you move up 6 or down 3 from the first note of the major scale (the tonic) you go the relative minor, or the natural minor scale, but keep in mind there are three inflections of the minor scale...
- natural minor
- harmonic minor (where the ^7 tone is raised a half step)
- melodic minor (where the ^6 and ^7 tones are raised by half step)
1
Or it could be said the melodic minor is the parallel major with a lowered third...But melodic has two incarnations - the classical, where ascending is different from descending, and jazz melodic, where it's the same up and down.
– Tim
2 days ago
@Tim, I was tempted to answer that way: melodic minor is major with a lowered third. If figured that is the jazz conception (esp. because jazz uses modes of mel. minor.) But, I really dislike the 'classical' textbook asc/desc distinction with melodic minor. It simply isn't true. Direction doesn't make the distinction, but the prevailing harmony. If the harmony is dominant and the scale descends, raised ^6 and ^7 may be used. I think I'll post my own question re. the historic origin of the textbook description. I don't know what it is.
– Michael Curtis
2 days ago
Unfortunately, the exam boards seem to have a different concept from ours! Harmonic is from the harmony angle, melodic is from the way the tune itself meanders, and fills that 3 semitone gap without the jarring the harmonic minor would produce.
– Tim
2 days ago
So says the teaching. Anyway, I posted a new question music.stackexchange.com/questions/77060
– Michael Curtis
2 days ago
add a comment |
up vote
6
down vote
accepted
You mean the "modes" of the major scale.
Starting on the first note of the major scale the mode names are...
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
With a scale of C major we can say something like the second mode of C major scale is the D Dorian mode.
As you described, you can get the modes of a major scale by permutating through it by moving up by steps. But another way to create modes is by adding sharps and flats to either a major or minor scale.
If you start with a C major scale and then add a flat on the ^7 tone to lower it, you will have the C Mixolydian mode. So, here is the list of modes again, with notes about those alterations.
- Ionian (same as major scale)
- Dorian (natural minor with a raised ^6 tone)
- Phrygian (natural minor with a lowered ^2 tone)
- Lydian (major with a raised ^4 tone)
- Mixolydian (major with a lowered ^7 tone)
- Aeolian (same as natural minor)
- Locrian (natural minor with lowered ^2 and ^5 tones)
Whether you permutate the major scale or lower/raise tones you will see that the sequence of whole steps and half steps is the same for each mode. In other words the whole/half step sequence is the same for the D Dorian mode of the C major scale and the C Dorian mode.
As a side comment...
It's true when you move up 6 or down 3 from the first note of the major scale (the tonic) you go the relative minor, or the natural minor scale, but keep in mind there are three inflections of the minor scale...
- natural minor
- harmonic minor (where the ^7 tone is raised a half step)
- melodic minor (where the ^6 and ^7 tones are raised by half step)
1
Or it could be said the melodic minor is the parallel major with a lowered third...But melodic has two incarnations - the classical, where ascending is different from descending, and jazz melodic, where it's the same up and down.
– Tim
2 days ago
@Tim, I was tempted to answer that way: melodic minor is major with a lowered third. If figured that is the jazz conception (esp. because jazz uses modes of mel. minor.) But, I really dislike the 'classical' textbook asc/desc distinction with melodic minor. It simply isn't true. Direction doesn't make the distinction, but the prevailing harmony. If the harmony is dominant and the scale descends, raised ^6 and ^7 may be used. I think I'll post my own question re. the historic origin of the textbook description. I don't know what it is.
– Michael Curtis
2 days ago
Unfortunately, the exam boards seem to have a different concept from ours! Harmonic is from the harmony angle, melodic is from the way the tune itself meanders, and fills that 3 semitone gap without the jarring the harmonic minor would produce.
– Tim
2 days ago
So says the teaching. Anyway, I posted a new question music.stackexchange.com/questions/77060
– Michael Curtis
2 days ago
add a comment |
up vote
6
down vote
accepted
up vote
6
down vote
accepted
You mean the "modes" of the major scale.
Starting on the first note of the major scale the mode names are...
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
With a scale of C major we can say something like the second mode of C major scale is the D Dorian mode.
As you described, you can get the modes of a major scale by permutating through it by moving up by steps. But another way to create modes is by adding sharps and flats to either a major or minor scale.
If you start with a C major scale and then add a flat on the ^7 tone to lower it, you will have the C Mixolydian mode. So, here is the list of modes again, with notes about those alterations.
- Ionian (same as major scale)
- Dorian (natural minor with a raised ^6 tone)
- Phrygian (natural minor with a lowered ^2 tone)
- Lydian (major with a raised ^4 tone)
- Mixolydian (major with a lowered ^7 tone)
- Aeolian (same as natural minor)
- Locrian (natural minor with lowered ^2 and ^5 tones)
Whether you permutate the major scale or lower/raise tones you will see that the sequence of whole steps and half steps is the same for each mode. In other words the whole/half step sequence is the same for the D Dorian mode of the C major scale and the C Dorian mode.
As a side comment...
It's true when you move up 6 or down 3 from the first note of the major scale (the tonic) you go the relative minor, or the natural minor scale, but keep in mind there are three inflections of the minor scale...
- natural minor
- harmonic minor (where the ^7 tone is raised a half step)
- melodic minor (where the ^6 and ^7 tones are raised by half step)
You mean the "modes" of the major scale.
Starting on the first note of the major scale the mode names are...
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
With a scale of C major we can say something like the second mode of C major scale is the D Dorian mode.
As you described, you can get the modes of a major scale by permutating through it by moving up by steps. But another way to create modes is by adding sharps and flats to either a major or minor scale.
If you start with a C major scale and then add a flat on the ^7 tone to lower it, you will have the C Mixolydian mode. So, here is the list of modes again, with notes about those alterations.
- Ionian (same as major scale)
- Dorian (natural minor with a raised ^6 tone)
- Phrygian (natural minor with a lowered ^2 tone)
- Lydian (major with a raised ^4 tone)
- Mixolydian (major with a lowered ^7 tone)
- Aeolian (same as natural minor)
- Locrian (natural minor with lowered ^2 and ^5 tones)
Whether you permutate the major scale or lower/raise tones you will see that the sequence of whole steps and half steps is the same for each mode. In other words the whole/half step sequence is the same for the D Dorian mode of the C major scale and the C Dorian mode.
As a side comment...
It's true when you move up 6 or down 3 from the first note of the major scale (the tonic) you go the relative minor, or the natural minor scale, but keep in mind there are three inflections of the minor scale...
- natural minor
- harmonic minor (where the ^7 tone is raised a half step)
- melodic minor (where the ^6 and ^7 tones are raised by half step)
edited 2 days ago
answered 2 days ago
Michael Curtis
4,786325
4,786325
1
Or it could be said the melodic minor is the parallel major with a lowered third...But melodic has two incarnations - the classical, where ascending is different from descending, and jazz melodic, where it's the same up and down.
– Tim
2 days ago
@Tim, I was tempted to answer that way: melodic minor is major with a lowered third. If figured that is the jazz conception (esp. because jazz uses modes of mel. minor.) But, I really dislike the 'classical' textbook asc/desc distinction with melodic minor. It simply isn't true. Direction doesn't make the distinction, but the prevailing harmony. If the harmony is dominant and the scale descends, raised ^6 and ^7 may be used. I think I'll post my own question re. the historic origin of the textbook description. I don't know what it is.
– Michael Curtis
2 days ago
Unfortunately, the exam boards seem to have a different concept from ours! Harmonic is from the harmony angle, melodic is from the way the tune itself meanders, and fills that 3 semitone gap without the jarring the harmonic minor would produce.
– Tim
2 days ago
So says the teaching. Anyway, I posted a new question music.stackexchange.com/questions/77060
– Michael Curtis
2 days ago
add a comment |
1
Or it could be said the melodic minor is the parallel major with a lowered third...But melodic has two incarnations - the classical, where ascending is different from descending, and jazz melodic, where it's the same up and down.
– Tim
2 days ago
@Tim, I was tempted to answer that way: melodic minor is major with a lowered third. If figured that is the jazz conception (esp. because jazz uses modes of mel. minor.) But, I really dislike the 'classical' textbook asc/desc distinction with melodic minor. It simply isn't true. Direction doesn't make the distinction, but the prevailing harmony. If the harmony is dominant and the scale descends, raised ^6 and ^7 may be used. I think I'll post my own question re. the historic origin of the textbook description. I don't know what it is.
– Michael Curtis
2 days ago
Unfortunately, the exam boards seem to have a different concept from ours! Harmonic is from the harmony angle, melodic is from the way the tune itself meanders, and fills that 3 semitone gap without the jarring the harmonic minor would produce.
– Tim
2 days ago
So says the teaching. Anyway, I posted a new question music.stackexchange.com/questions/77060
– Michael Curtis
2 days ago
1
1
Or it could be said the melodic minor is the parallel major with a lowered third...But melodic has two incarnations - the classical, where ascending is different from descending, and jazz melodic, where it's the same up and down.
– Tim
2 days ago
Or it could be said the melodic minor is the parallel major with a lowered third...But melodic has two incarnations - the classical, where ascending is different from descending, and jazz melodic, where it's the same up and down.
– Tim
2 days ago
@Tim, I was tempted to answer that way: melodic minor is major with a lowered third. If figured that is the jazz conception (esp. because jazz uses modes of mel. minor.) But, I really dislike the 'classical' textbook asc/desc distinction with melodic minor. It simply isn't true. Direction doesn't make the distinction, but the prevailing harmony. If the harmony is dominant and the scale descends, raised ^6 and ^7 may be used. I think I'll post my own question re. the historic origin of the textbook description. I don't know what it is.
– Michael Curtis
2 days ago
@Tim, I was tempted to answer that way: melodic minor is major with a lowered third. If figured that is the jazz conception (esp. because jazz uses modes of mel. minor.) But, I really dislike the 'classical' textbook asc/desc distinction with melodic minor. It simply isn't true. Direction doesn't make the distinction, but the prevailing harmony. If the harmony is dominant and the scale descends, raised ^6 and ^7 may be used. I think I'll post my own question re. the historic origin of the textbook description. I don't know what it is.
– Michael Curtis
2 days ago
Unfortunately, the exam boards seem to have a different concept from ours! Harmonic is from the harmony angle, melodic is from the way the tune itself meanders, and fills that 3 semitone gap without the jarring the harmonic minor would produce.
– Tim
2 days ago
Unfortunately, the exam boards seem to have a different concept from ours! Harmonic is from the harmony angle, melodic is from the way the tune itself meanders, and fills that 3 semitone gap without the jarring the harmonic minor would produce.
– Tim
2 days ago
So says the teaching. Anyway, I posted a new question music.stackexchange.com/questions/77060
– Michael Curtis
2 days ago
So says the teaching. Anyway, I posted a new question music.stackexchange.com/questions/77060
– Michael Curtis
2 days ago
add a comment |
Thanks for contributing an answer to Music: Practice & Theory Stack Exchange!
- Please be sure to answer the question. Provide details and share your research!
But avoid …
- Asking for help, clarification, or responding to other answers.
- Making statements based on opinion; back them up with references or personal experience.
To learn more, see our tips on writing great answers.
Some of your past answers have not been well-received, and you're in danger of being blocked from answering.
Please pay close attention to the following guidance:
- Please be sure to answer the question. Provide details and share your research!
But avoid …
- Asking for help, clarification, or responding to other answers.
- Making statements based on opinion; back them up with references or personal experience.
To learn more, see our tips on writing great answers.
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function () {
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f77049%2fwhat-are-all-the-scales-based-on-the-major-scale%23new-answer', 'question_page');
}
);
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
essentially i think music has a general rule of three. therefore, the triad.
– GibralterTop
2 days ago
1
@GibralterTop -- "rule of three"? I've never heard of this, it makes no sense, and what does this have to do with OP's question?
– David Bowling
yesterday