This is a broad topic, and we will tackle it over two consecutive issues of the magazine. In the first part we will look at how the major scale and the modes are built; in the second, their possibilities and uses. In Western music, the major scale is the most recognizable, studied and used scale.
This scale has appeared since time immemorial in different cultures, which in turn shared the concept of dividing the octave. Arabic and Persian scales, Japanese scales and those of the Pacific cultures also fell within the range of an octave.
Although it may come as a surprise, the diatonic scale was the origin of ancient Chinese music and the music of India, even though their musical theory and practice differ enormously from those of the West.
For the ancient Chinese, their musical scale was developed through the circle of perfect fifths until it reached 60 degrees, although they generally used only the first 5 degrees, C – G – D – A – E; hence the origin of their pentatonic music, because for them it represented the limit of consonance in modal music. In addition, the ancient Chinese attributed a symbolic character to the pentatonic scale, rooted in their belief that music represented the relationship between heaven and earth.
In 3000 BC, the Chinese developed this major scale exactly as it was developed in ancient Greece around 500 BC.
The Greek philosopher, musician and mathematician Pythagoras (570-490 BC) spent more than twenty years in Egypt studying the most varied disciplines. It is believed that it was there, through experimental study of the vibration and motion of strings, that he discovered the harmonic series and the division of the octave.
Here, for math lovers, is the Pythagorean series
1, 9:8, 81:64, 4:3, 3:2, 27:16, 243:128, 2.
Since the subject of the origin of scales is extremely broad and often full of controversy, we will stick to practical matters.
Structure of the major scale
The major scale consists of 7 notes (8 if we count the octave). The distances from one note to the next are
whole step - whole step - half step - whole step - whole step - whole step - half step
The scale can be described as two major tetrachords (whole step - whole step - half step) separated by a whole step
The two tetrachords for the C major scale are:
(Major tetrachord) C - D - E - F G - A - B - C (Major tetrachord)
In figure 1 we will look at the different fingerings of the major scale the way I prefer to teach them to my students, that is, with three notes per string.
Ideally, as you can see in figure 2, you should be able to see all the notes that belong to the scale (in this case C major) without relying on specific shapes, because these graphic representations, while invaluable at first, can limit us over time when it comes to seeing the fretboard as a whole. In my view, you should seek the greatest possible freedom in moving around the neck. It is important to get past certain patterns and clichés we grow comfortable with and to consciously look for new paths and melodies, trying to let our own ear guide us rather than the paths our fingers have already traveled over and over. To this end, I recommend that my students do exercises in mentally visualizing the scales while hearing each note internally.
The gray note is the tonic; that is, wherever we place that note will determine the key of the scale.
For years I have worked with my students on the following two cycles, which cover all the keys, and in this way we have practiced mastering the scales in any key. Ideally, you should study them very slowly until you are familiar with the shapes across the whole fretboard and in every key. That is, metronome at 80 and play eighth notes.
I: C I Eb I Gb I A I Db I E I
I G I Bb I D I F I Ab I B :I
I: C I F I Bb I Eb I Ab I Db I
I Gb I B I E I A I D I G :I
Circle of fifths
By going through the cycle of ascending fifths and descending fourths and applying the interval structure to the resulting notes, we get all the possible major keys, as well as the minor keys a step and a half below.
1. C Major Scale – No accidentals
C - D - E - F - G - A - B - C
2. G Major Scale – 1 sharp
G - A - B - C - D - E - F# - G
3. D Major Scale - 2 sharps.
D - E - F# - G - A - B - C# - D
4. A Major Scale - 3 sharps.
A - B - C# - D - E - F# - G# - A
5. E Major Scale - 4 sharps
E - F# - G# - A - B - C# - D# - E
6. B Major Scale - 5 sharps
B - C# - D# - E - F# - G# - A# - B
7. Gb Major Scale – 6 flats
Gb - Ab - Bb - Cb (= B) - Db - Eb - F - Gb
8. Db Major Scale - 5 flats
Db - Eb - F - Gb - Ab - Bb - C - Db
9. Ab Major Scale - 4 flats
Ab - Bb - C - Db - Eb - F - G - Ab
10. Eb Major Scale - 3 flats
Eb - F - G - Ab - Bb - C - D - Eb
11. Bb Major Scale - 2 flats
Bb - C - D - Eb - F - G - A - Bb
12. F Major Scale – 1 flat.
F - G - A - Bb - C - D - E - F
Names of the degrees
Besides referring to the degrees of major and minor scales with Roman numerals, we can use the following names:
Degree: Name
I: tonic
II: supertonic
III: mediant
IV: subdominant
V: dominant
VI: submediant or superdominant
VII: leading tone
Each of these degrees generates, by stacking thirds, the following chords, which make up what we call the harmonization of the major scale.
Triads
G A B C D E F
E F G A B C D
C D E F G A B
C D- E- F G A- Bo
Four-note chords
B C D E F G A
G A B C D E F
E F G A B C D
C D E F G A B
Cmaj7 D-7 E-7 Fmaj7 G7 A-7 B-7b5
So in any major key the chords will be:
I II- III - IV V VI - VII o
Or with sevenths:
Imaj7 II-7 III-7 IVmaj7 V7 VI-7 VII-7b5
We simply need to work out the major scale of the key we want and match each degree to its resulting chord.
The modes
To get into the modes, let's say they are a set of scales built on each of the degrees of the major scale. They have their origin in the Gregorian modes, the name given to the scales or modes used in Gregorian chant. These were monophonic and were in use during the Middle Ages and the Renaissance. Over time they evolved into our major and minor scales. The number of modes varies by period, but we could say there were eight Gregorian modes. After several centuries of being forgotten, these modes were altered and have been used in all kinds of music, both classical and jazz. Although the nomenclature and names used to refer to them vary, almost all of us generally know them by the following names.
Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone
Ionian 1 2 3 4 5 6 7
Dorian 1 2 b3 4 5 6 b7
Phrygian 1 b2 b3 4 5 b6 b7
Lydian 1 2 3 #4 5 6 7
Mixolydian 1 2 3 4 5 6 b7
Aeolian 1 2 b3 4 5 b6 b7
Locrian 1 b2 b3 4 b5 b6 b7
The 2, 4 and 6 are commonly referred to as 9, 11 and 13. The result is as follows:
IONIAN: C D E F G A B
T 9 3 11 5 13 Maj7
DORIAN: D E F G A B C
T 9 b3 11 5 13 b7
PHRYGIAN: E F G A B C D
T b9 b3 11 5 b13 b7
LYDIAN: F G A B C D E
T 9 3 #11 5 13 Maj7
MIXOLYDIAN: G A B C D E F
T 9 3 11 5 13 b7
AEOLIAN: A B C D E F G
T 9 b3 11 5 b13 b7
LOCRIAN: B C D E F G A
T b9 b3 11 b5 b13 b7
Each of these modes in turn generates a series of chords: triads, four-note chords and chords with various tensions. Next, let's look at some of the chords generated in the key of C from the different modes:
Ionian generates, among others, the following chords:
C Major, Cmaj7, C6, Cadd9, C6/9, Cmaj7(9), Cmaj7(13), Csus4, Csus4(6),Csus4(6,9), Csus2, etc... The 11 tension is considered an “avoid note” if the chord contains the 3rd. This is because it creates a dissonant interval with the chord's basic sound, resulting in a loss of stability.
Dorian generates the following:
D-, D-7, D-6, D-add9, D-7(9), D-7(11), D-7(13), D-7(9,11), D-7(9,13), D-7(11,13), Dsus4, Dsus2, etc... The 13 is often considered an “avoid note,” especially in II-V-I cadences. To put it briefly, by introducing the 13th we anticipate the sound and function of the V7, thereby undermining the feeling the cadence is trying to create. Personally, I don't pay much attention to this.
Phrygian generates:
E-, E-7, E-7(11), E-(b13), Esus4, Esus4(b13). The b9 and b13 tensions would be the “avoid notes” in this case, since they create quite a bit of dissonance in the chord.
Lydian generates major chords with these possible tensions:
F Major, Fmaj7, F6, Fadd9, F6/9, Fmaj7(9), Fmaj7(13), Fmaj7(#11), Fmaj7(#11,13).
Mixolydian generates:
G, G7, G6, Gadd9, G7(13), G7(9), G7(13,9), Gsus4, Gsus4(6), G7sus4, etc. In this case the “avoid note” is the 11, just as with the Ionian mode.
Aeolian generates minor chords such as:
A-, A-add9, A-7, A-7(9), A-7(11), A-7(9,11), Asus4, Asus4(7), Aadd9sus4, etc.
The b13 is considered an “avoid note” because it is a half step from the 5th; personally, the “-7(b13)” is a chord I use quite a lot, and it is very common in Brazilian guitar.
Locrian generates diminished chords:
Bo, B-7b5, B-7b5(11), B-7b5(b9), B-7b5(b13), B-7b5sus4, etc. As in the Phrygian mode, the “avoid notes” would be the b9 and b13. Even so, they are frequently found.
Each mode has a specific sound; to realize this, just listen to the different sound created by a Lydian scale and an Ionian scale over a maj7 chord. The same happens when playing the Aeolian or the Dorian scale over a minor chord. That is why it is very important to become familiar with the tensions and characteristics of each mode. We can also find chord progressions with a marked Lydian, Phrygian, etc. character. To handle the modes well, it is worth studying them in every key and on every part of the neck.
Typical cadences
There are a number of very common harmonic movements within the diatonic realm. The most common is the
II-7 V7 Imaj7; D-7 G7 Cmaj7.
There are others, such as: I IV V; C F G
Imaj7 VI-7 II-7 V7; Cmaj7 A-7 D-7 G7, known as the "anatole" cycle (rhythm changes turnaround).
VI- V IV III-; A- G F E-7. In this last cadence, if we change the E-7 to major, E, we get the Andalusian or flamenco cadence, but that's another story.
There are many different cadences and harmonic movements, which we will cover more extensively in a separate chapter.
Analysis of diatonic progressions
Next, we are going to analyze a diatonic progression, which will make the functions of the degrees and modes a little clearer.
Imaj7 IVmaj7 VII-7b5 III-7
I Cmaj I Fmaj7 I B-7b5 I E-7 I
C Ionian F Lydian B Locrian E Phrygian
VI-7 II-7 V7 Imaj/
I A-7 I D-7 I G7 I Cmaj7 I
A Aeolian D Dorian G Mixolydian C Ionian
Now let's look at the analysis of the first eight bars of the jazz standard “All the Things You Are”
VI-7 II-7 V7 Imaj7
I F-7 I Bb-7 I Eb7 I Abmaj7 I
F Aeolian Bb Dorian Eb Mixolydian Ab Ionian
IVmaj7 V7 Imaj7 Imaj/
I Dbmaj7 I G7 I Cmaj7 I Cmaj7 I
Db Lydian G Mixolydian C Ionian C Ionian
As we can see, from the F-7 to the Dbmaj7 we are in the key of Ab major, and from the G7 on, in the key of C major.
In the next article we will explore the many possibilities of major scales and modes in a wide range of harmonic situations; we will also look at interesting phrases using these scales, how they generate multiple chords and arpeggios, and how to play “outside” with them.
Until the next issue.
