musical scale- this is a lined up ascending or descending sequence of notes within one octave. Music theory explains the concept of a scale as a sound range of indefinite length, between adjacent steps of which there is a lag of a whole tone or semitone.
Below in the image you can see: scales A-minor, E-minor, D-minor and G-minor.
The purpose of studying scales
In the initial period of learning to play a musical instrument, the foundation is laid for technical playing skills, basic concepts, and techniques for constructing sound intervals and triads are developed and consolidated. Sound series, in the form of musical scales, train the fingers, allow you to hone the technique of playing the instrument. As a result of daily training, there is an accumulation of fluency, a clear sequence of finger movements. Sound series perfectly develop hearing and a sense of rhythm, help to polish the technique of sound production, and develop speed. Usually, at first they master direct scales, then they switch to divergent ones.
This is how the scale looks and plays on the piano:
The structure of the musical scale
Scales form the key template elements of a piece of music in any genre and style. In order to understand the structure of the sound range, you need to know the definitions, tones and semitones. The space between two identical notes, for example, between the nearest notes of Sol, is called an octave.
The difference in pitch, the interval between the nearest sounds is called a semitone. Tone consists of two consecutive semitones. The starting note of a musical scale is the root or tonic. The concept of scale can also be expressed as a series of sounds from tonic to the next tonic.
Gradual rise of sounds within tonics is ascending gamma, lowering sounds creates a descending scale. The major scale has 7 steps. Steps - the sounds of the scale, indicated by Roman numerals. They start from the tonic, the most stable step that sets the tone. The tonic is followed by the upper introductory tone, mediant, subdominant, dominant, submediant, seventh, octave. The octave is identical to the tonic, but higher. After it, you can start with the second or continue with the ninth.
Varieties
There are several dozen varieties of sound rows. Tonal music has a division into two large groups of scales, from which learning begins:
- Major scales. The principle of construction is based on the alternation of tones and semitones: 2 tones, semitone, 3 tones, semitone. The simplest scale for the violin is D major, for the piano - C major. The sound of these sound sequences has a joyful tone.
- Minor scales. Construction principle: tone, semitone, 2 tones, semitone, 2 tones. The simplest piano scale is A minor. The sound is perceived as lyrical, sad.
There is also a division of these two groups into sharp and flat. The former are characterized by the presence of a sharp key in the key: C dur, a moll. The latter are distinguished by the presence of flats in the key: F dur, d moll.
They occupy a separate niche chromatic scales, the construction of which follows the principle - semitone, semitone.
There may be unusual sound sequences. Gammas can be compared to any dish, to which changes give a new special taste. In modal and atonal music, there is an unlimited number of modes, which makes it possible to invent your own sound range. To increase the possibilities for self-expression, it is necessary to know as many of them as possible.
Major and minor pentatonic, major, natural minor scale - form the basis of music. Knowing only them, you can perform up to 95% of music, including rock. You can stop at this number. If you wish, you can study more rarely used scales: harmonic and melodic minor, major and minor modes, many exotic scales used in folk music.
Major and minor scales
The law of scale construction is a certain sequence of intervals between the notes of the scale. The construction of the scale can start from any note. However, it can contain any number of notes, but not more than seven. For example, the E-minor scale is built from the note Mi and ends with it. To build a major sound range, any note is taken as the basis, rises a tone higher, becoming the second step of the scale. Then the second note rises a tone, forming the third step, by raising the third note by half a step, the fourth step is obtained. Major and minor scales are divided into three types:
- diatonic. This is a natural, most common major scale with its own key signs, without accidental accidentals. For the minor scale, this is a simple scale, the same for any movements, in which only key signs are taken into account.
- Harmonic. It is characterized by a lowered sixth step (VIb) when moving up or down. This gives the sound a more minor tone. In the minor scale, with any movement, the seventh step (VII #) rises, with a tendency to the tonic.
- melodic. For the major scale, with an ascending movement, it plays like a diatonic scale. With a downward movement, the sixth and seventh steps (VIb, VIIb) decrease. The minor scale is characterized by an increase in two steps, the sixth and seventh (VI#, VII#) as the scale moves up. A downward move cancels the raise and is played naturally.
Study of
When mastering the scale, it is necessary to delve into its character, learn the skills of melodiousness and smoothness of playing legato. You need to try to use different articulation, accents, different rhythms. The use of a variety of nuances, dynamics, timbre will improve the quality of performance.
Scales- this is a sequence of seven consecutive notes that make up the tonality or a certain mode. The notes within these structures are always combined with each other, and with the right arrangement they form the harmonic intervals or chords that make up music and works. This article is devoted to this aspect. Here you will find a complete explanation of what scales are and how to compose them yourself.
In fact, knowledge of scales is necessary for every musician. They will give the guitarist a huge scope for improvisation and composing both riffs and solo parts. Without them, you will not be able to come up with a beautiful part that will sound as harmonious as possible within the composition, or even build its skeleton. In addition, they will be useful for an arranger who needs to compose parts for different instruments.
Knowing the scales, any guitarist will be able to immediately improvise and understand what exactly he should play right now. This is useful in group jams where new songs may come out. In addition, without scales, you will not understand how to build chords, and you will not be able to diversify your acoustic compositions.
Full list
This section is made to make it easier for you to analyze each of the scales. In it you will find links to individual articles dedicated to each of the keys and the boxes within it.
The simple answer to this question is everything. Thus, you will not only memorize the sounds that are included in the key, but also learn .However, it is easiest to start with the C major or A minor scales. The reason is that all the notes included in them are not intermediate. Having learned their location, you can easily find sharp or flat notes that are part of other keys.
Moreover, and this will be discussed below, you should pay attention to the so-called guitar boxes - if you learn them, then further development of scales will be much easier than it could be.
As mentioned above, scales allow you to freely improvise within any of the keys. This is especially useful if you suddenly get lost on stage during the performance of a song and cannot find the right fragment of your solo. Knowing the scales, instead of getting stuck, you just start playing something else, and return to the desired segment.
In addition, it often happens that the composition is modified within the performance. You can play more squares of the song on emotion than you need, and then it will be much easier for you to fill this space with modulations and solo parts.
There are two types of scales - major and minor. There are twenty-four of them, according to the number of all existing keys, but there is one feature that will make it easier for you to learn them. The fact is that the scale, which is included in the major key, is also present in the minor key parallel to it, and vice versa. Thus, in fact, you only need to remember which keys are parallel to each other, and learn twelve scales.
By themselves, these boxes can be sharp and flat - if there are, respectively, notes with these signs inside them. In addition, there is a special subspecies - the chromatic scale, in which each note included in the key rises by half a step, with the exception of one.
Construction theory
The major scale is built according to the following principle:
Tonic - Tone - tone - semitone - tone - tone - tone - semitone. This is the most standard scheme, from which all musicians start.
The minor scale is built like this:
Tonic - Tone - semitone - tone - tone - semitone - tone - tone.
The chromatic scale is based on this scheme, and raises all notes by half a tone, except for the sixth step, instead of which the seventh is lowered if we are talking about major, or with the exception of the first, instead of which the second is lowered if we are talking about minor. It should be borne in mind that we build an additional semitone to each note, and do not change it to sharp or flat.
Moreover, if in a minor key a semitone is also inserted between the last two tones, then the so-called harmonic scale will be obtained. The same applies to major, but if a semitone is inserted between the fifth and sixth steps. This gives the sound an oriental tone.
On the guitar, you can play the scale both on one string and on the entire fretboard. In the first case, you simply move from the first or zero fret to the twelfth, if we are talking about C major or A minor, or from any other until you have passed a full octave.
However, it is much easier and more useful to play scales with so-called boxes. Then you will know which string it is on, which note, and you will be able to improvise and build new scales much easier in the future on your own.
The most important thing - .You are required to clearly place accents while playing the strong beat in order to better feel the rhythm. Another good option would be to play and record riffs inside the key, and then play the scales under them. In this way, you will be able to improvise freely and learn to play solo parts already, and not just play individual boxes.
Also, try playing scales with duos, triplets, and other rhythmic patterns. That is, for one beat of the metronome, you need to play a note two times, three, or more. This greatly speeds up the hand and teaches you to get used to odd and broken sizes.
Game features
The guitar is much easier than the piano. It's all about the boxes. In fact, having learned at least a couple of pieces, you will definitely know how to build new scales, and you will definitely not get lost in the music and thinking through the parts.
Gamma boxes - what is it
In fact, boxes- these are stable positions or schemes that form a scale. They include all the strings, not just one, and vary slightly depending on your position on the fretboard. In addition, it also includes classical modes, which originate from Greek music. If you do not want to delve into theory and learn how to build scales, then frets will help you memorize them anyway.
Scale positions on the guitar. How many and what are they?
Scale positions are also divided into major and minor. There are five of them in total, and they move along the fretboard depending on the key you play. Therefore, for comfortable playing, you just need to learn five boxes of C major, and move them down the fretboard, based on which key the song is in.
Guitar scale examples for beginners
This section includes examples of scales and their fingerings. This is done primarily for beginner guitarists, so that they look and get comfortable - find the right boxes on the fretboard and understand in practice what it is.
The content of the article
MUSICAL SCAMS, sequences of musical sounds arranged in ascending or descending directions. Gamma (more precisely, the scale) represents in a generalized form, usually in the range of an octave (for example, from before first octave to before second octave), the foundation of the music from which this scale is extracted. Theoretically, the number of scale scales is very large; different national cultures have different scales.
Chromatic scale.
The chromatic scale contains all the sounds included in the tempered European scale. In this scale, each tone is a semitone from the previous and subsequent; in a tempered scale, a semitone is the smallest possible distance between sounds.
The chromatic scale notation changes depending on the musical context, as shown in example 1. For example, C-sharp (cis) and D flat (des) represent a sound of the same pitch. There is a phenomenon called anharmonicity . Usually, but not necessarily, ascending chromatic sequences are written using sharps (), backs () and double sharps (), and descending sequences using flats (), backs () and double flats () (example 2).
Only by the 20th century. the chromatic scale began to be regarded as a self-sufficient scale for musical composition. This can be shown by the example of A. Schoenberg's dodecaphone composition - suite, op. 25. The sequence of sounds presented in example 3 is the “series” (or “row”) of this work; in accordance with the rules of dodecaphony, this set of sounds, exactly in the order in which they appear, constitutes the melodic-harmonic structure of the work. Schoenberg's series can be compared to a chromatic scale: the scale contains the same sounds, but does not bring individual order to them.
diatonic scales.
In previous eras, chromatism served primarily to enrich and expand the expressive possibilities of several diatonic scales, the composition of which is determined by the octave range, the presence of two semitones and five whole tones (as in modern major and minor, also related to diatonic scales). In the Middle Ages, all scales were diatonic and included in the so-called modal cosmos. A perfect system, this misinterpreted legacy of classical antiquity. The perfect system was a kind of modern chromatic system, i.e. was a set of all the main tones (scales) used in music. These scales were diatonic - they corresponded to the white keys of the modern piano. Deviations from the basic tones that inevitably arose in musical practice were considered by medieval theorists as musica falsa or musica ficta - "false", "false" music. In the canon of Odo of Cluniy (10th century), letter designations were first attached to the sounds of the consolidated diatonic scale, which are presented (in their modern form) in example 4.
The perfect system defines the basic rule for the notation of diatonic scales: each letter within an octave is used only once. This is where a number of difficulties and ambiguities arise in the designation of the tones of the chromatic scale: you have to use seven basic letters with the endings -is or -es (for example, C-sharp denoted as cis, D flat- how des etc.).
Frets.
The diatonic scale can be built from any degree, for example: la - b-flat - do - re - mi - fa - sol or re - mi - fa - salt - la - b-flat - do etc. Since in the Perfect System (as in the arrangement of white keys on the piano keyboard) two semitones are fixed - mi-fa and si - to, they can take different positions in relation to the initial tone of the scale. It is this quality, the arrangement of semitones in relation to the initial tone - the initialis, that makes it possible to distinguish seven diatonic modes (“modes”) (example 5). They are sometimes called "church" modes, and they determine the appearance of all medieval music, especially church singing. Any medieval mode is characterized not only by the ratio of semitones with the initialis, but also by the position of the dominant as the most frequently repeated tone (in some styles of church singing), as well as by the ambitus, those. fret volume. Ambitus could be of two types: if the mode was built from the initialis up, it was called "authentic"; if the mode started a fourth below the initialis and ended a fifth above it, it was called "plagal" ("secondary").
Transposition and alteration.
The frets can be transposed (moved); they can be built from any tone within an octave. However, in this case, to preserve the structure of the mode, it is necessary to introduce the so-called "random signs" - sharps and flats. If the Dorian mode is built from salt, not from re, its third step should be b flat, but not si. In practice, other chromatisms arose in the modes, especially in the final cadences, where, for example, in the Dorian mode, instead of a move do - re chromatism appeared C-sharp - re.
The modes of the type described above are used primarily to classify monodic music, especially medieval church singing. That is why ambitus and dominant are considered as distinctive features of such modes. Other possible way The classification of ancient (and folklore) modes can be a melodic formula ("singing") or a group of formulas characteristic of a given mode. Such a connection of certain melodic formulas with one mode or another is typical for most non-Western European cultures, in particular Eastern ones (for example, for Indian raga). This connection can be traced in ancient Russian church singing and in the ancient layers of Russian folklore.
Major and minor scales (scales).
With the development of polyphony, the modal theory lost its comprehensive meaning. By the 16th century theorists have already observed only four used authentic modes (from re,mi,F,salt) and four corresponding plagal ones. At the same time, the strengthening of the harmonic basis of polyphonic writing and the appearance of various altered tones led to the expansion of the mode table from twelve to fourteen - by adding the theoretically "calculated" Locrian and Hypolocrian modes (with the initialis si). Among all the modes (twelve or fourteen), two stood out - the Ionian mode from before and the Aeolian mode from la, which formed the basis of the emerging major-minor system. The transition from the twelve frets of the 16th century. to major and minor of the modern tonal system occurred in the 17th century. But the predominance of major and minor was also felt in earlier music; these modes retain their significance to this day.
The major scale (example 6) is distinguished by the clarity of the structure. The arrangement of melodically active semitones - between the third and fourth and between the seventh and eighth steps - gives the major scale intonation gravity, strictly oriented towards the initialis, aka the finalis – final tone: now it is called the tonic. At the same time, in the major, a conjugation is created between the dominant (V degree) and the tonic, which imparts harmonic clarity to the mode. Similar properties of the melodic and harmonic order, observed in the music of the 17th-20th centuries, allow the major to withstand diverse chromatic changes without losing its individuality.
Other frets.
There are many different modes in Western music. These are scales with "gaps", i.e. intervals greater than a major second are formed between the steps of the mode. This type includes the so-called. pentatonic (five-step) frets. There are also whole-tone frets. Both types are shown in example 8. However, the value of such formations is incomparable with the universal value of major and minor.
MUSICAL SCALE
sequences of musical sounds arranged in ascending or descending directions. A scale (more precisely, a scale) represents in a generalized form, usually in the range of an octave (for example, from up to the first octave to up to the second octave), the foundation of the music from which this scale is extracted. Theoretically, the number of scale scales is very large; different national cultures have different scales.
Chromatic scale. The chromatic scale contains all the sounds included in the tempered European scale. In this scale, each tone is a semitone from the previous and subsequent; in a tempered scale, a semitone is the smallest possible distance between sounds. The notation of the chromatic scale changes depending on the musical context, as shown in example 1. For example, C sharp (cis) and D flat (des) denote a sound of the same pitch. There is a phenomenon called anharmonism. Usually, but not necessarily, ascending chromatic sequences are written using sharps (), backs () and double sharps (), and descending sequences using flats (), backs () and double flats () (example 2).
Example 1 The chromatic scale contains all the tones used in European music. Each sound is separated by a semitone from the next. In most cases, chromatic scale sounds can be recorded different ways: In the example, these additional modes are shown as quarter notes.
Example 2 The correlation of seven note names (and seven Latin letters for their abbreviation) with twelve sounds of a tempered octave creates certain notational problems. By tradition, the notation of chromatic sequences changes depending on the main key of the piece; usually ascending steps are written using sharps, and descending steps are written using flats.
Only by the 20th century. the chromatic scale began to be regarded as a self-sufficient scale for musical composition. This can be shown by the example of A. Schoenberg's dodecaphone composition - suite, op. 25. The sequence of sounds presented in example 3 is the "series" (or "row") of this work; in accordance with the rules of dodecaphony, this set of sounds, exactly in the order in which they appear, constitutes the melodic-harmonic structure of the work. Schoenberg's series can be compared to a chromatic scale: the scale contains the same sounds, but does not bring individual order to them.
Example 3 Melodic "series" from the suite, op. 25 Arnold Schoenberg. The dodecaphony technique consists in using all twelve sounds of the chromatic scale for the "series" ("row"); repetitions of sounds are excluded.
diatonic scales. In previous eras, chromatism served primarily to enrich and expand the expressive possibilities of several diatonic scales, the composition of which is determined by the octave range, the presence of two semitones and five whole tones (as in modern major and minor, also related to diatonic scales). In the Middle Ages, all scales were diatonic and included in the so-called modal cosmos. A perfect system, this misinterpreted legacy of classical antiquity. The perfect system was a kind of modern chromatic system, i.e. was a set of all the main tones (scales) used in music. These scales were diatonic - they corresponded to the white keys of a modern piano. Deviations from the basic tones, which inevitably arose in musical practice, were considered by medieval theorists as musica falsa or musica ficta - "false", "false" music. In the canon of Odo of Cluniy (10th century), letter designations were first attached to the sounds of the consolidated diatonic scale, which are presented (in their modern form) in example 4.
Example 4 The perfect system includes all the scales and therefore all the tones used in medieval music.
The perfect system defines the basic rule for the notation of diatonic scales: each letter within an octave is used only once. This is where a number of difficulties and ambiguities arise in the designation of the tones of the chromatic scale: you have to use seven basic letters with the endings -is or -es (for example, C-sharp is denoted as cis, D-flat as des, etc.).
Frets. The diatonic scale can be built from any degree, for example: la - b flat - do - re - mi - fa - salt or re - mi - fa - salt - la - b flat - do, etc. Since in the Perfect System (as in the arrangement of white keys on the piano keyboard) two semitones are fixed - mi - fa and si - do, they can occupy different positions in relation to the initial tone of the scale. It is this quality, the arrangement of semitones in relation to the initial tone - the initialis, that makes it possible to distinguish seven diatonic modes ("modes") (example 5). They are sometimes called "church" modes, and they determine the appearance of all medieval music, especially church singing. Any medieval mode is characterized not only by the ratio of semitones with the initialis, but also by the position of the dominant as the most frequently repeated tone (in some styles of church singing), as well as by the ambitus, i.e. fret volume. Ambitus could be of two types: if the mode was built from the initialis up, it was called "authentic"; if the mode started a fourth below the initialis and ended a fifth above it, it was called "plagal" ("secondary").
Example 5 Church modes are scales used mainly in the Middle Ages, although the last two pairs (in the table) were added by theorists in the Renaissance. The initial tone - initialis - in each scale is indicated by a whole note; the tone of recitation when performing a liturgical recitative is indicated by a half note. The authentic mode and its paired plagal mode have the same initialis, but different ranges and tones of recitation.
Transposition and alteration. The frets can be transposed (moved); they can be built from any tone within an octave. However, in this case, to preserve the structure of the mode, it is necessary to introduce the so-called "random signs" - sharps and flats. If the Dorian mode is built from G, and not from D, its third step should be B flat, not B. In practice, other chromatisms also arose in the modes, especially in the final cadences, where, for example, in the Dorian mode, instead of moving to - D, chromatism to sharp - D appeared.
The modes of the type described above are used primarily to classify monodic music, especially medieval church singing. That is why ambitus and dominant are considered as distinctive features of such modes. Another possible way of classifying ancient (and folklore) modes can be a melodic formula ("singing") or a group of formulas characteristic of a given mode. Such a connection of certain melodic formulas with one mode or another is typical for most non-Western European cultures, in particular Eastern ones (for example, for Indian raga). This connection can be traced in ancient Russian church singing and in the ancient layers of Russian folklore.
Major and minor scales (scales). With the development of polyphony, the modal theory lost its comprehensive meaning. By the 16th century theorists have already observed only four used authentic modes (from re, mi, fa, salt) and four corresponding plagal ones. At the same time, the strengthening of the harmonic basis of polyphonic writing and the appearance of various altered tones led to the expansion of the table of modes from twelve to fourteen - by adding the theoretically "calculated" Locrian and Hypolocrian modes (with the initialis si). Among all the modes (twelve or fourteen), two stood out - the Ionian mode from C and the Aeolian mode from A, which formed the basis of the emerging major-minor system. The transition from the twelve frets of the 16th century. to major and minor of the modern tonal system occurred in the 17th century. But the predominance of major and minor was also felt in earlier music; these modes retain their significance to this day. The major scale (example 6) is distinguished by the clarity of the structure. The arrangement of melodically active semitones - between the third and fourth and between the seventh and eighth steps - gives the major scale intonation gravity, strictly oriented towards the initialis, also known as the finalis - the final tone: now it is called the tonic. At the same time, in the major, a conjugation is created between the dominant (V degree) and the tonic, which imparts harmonic clarity to the mode. Similar properties of the melodic and harmonic order, observed in the music of the 17th-20th centuries, allow the major to withstand diverse chromatic changes without losing its individuality.
Example 6 The major scale (or major scale) contains semitones in a harmonically strong position. When sounded together (as shown in the measure following the double bar), semitone gravity forms the basis for the harmonic sequence "dominant - tonic", the so-called. perfect cadence. This most effective and tonally defined harmonic sequence is used in the endings of musical phrases or entire compositions.
The minor mode (example 7) is in contrast to the major; the clarity of its structure is determined by the preservation of the inclinations typical of the major - meaning the move from the elevated VII degree (the so-called "introductory tone") to the tonic. So, there are three types of minor: natural, melodic and harmonic.
Example 7 The minor scale has several types of scale, but it needs to borrow the raised seventh step from major to create a harmonically strong dominant-tonic sequence.
Other frets. There are many different modes in Western music. These are scales with "gaps", i.e. intervals greater than a major second are formed between the steps of the mode. This type includes the so-called. pentatonic (five-step) frets. There are also whole-tone frets. Both types are shown in example 8. However, the value of such formations is incomparable with the universal value of major and minor.
Example 8 In addition to chromatic and diatonic, there are other scales. Pentatonic and whole-tone modes, for example, are often used in Oriental and primitive cultures.
LITERATURE
Tyulin Yu.N. Teaching about harmony. M., 1966 Gertsman E. Antique musical thinking. L., 1986
Collier Encyclopedia. - Open society. 2000 .
See what "MUSICAL SCAMS" are in other dictionaries:
The dictionary contains the most commonly used terms. See also MUSICAL FORM; MUSICAL INSTRUMENTS; MUSIC THEORY. In Italian terms, language affiliation is not indicated. AUTHENTIC 1) authentic cadence in the major-minor system ... Collier Encyclopedia
- ― musical instruments, on which the real pitch of the sounds does not coincide with the notated one, differing from it by a certain interval up or down. The transposing instruments include mainly wind instruments: most of the brass ones are the horn, ... ... Wikipedia
Reproducing natural sounds by electromechanical means and preserving them in a form that allows them to be restored with maximum fidelity to the original. More information about the physical principles underlying the affected ... ... Collier Encyclopedia
In music, combinations of tones and semitones in the octave range, creating scales that form the melodic and harmonic basis of musical composition. Scales (scales) are not yet modes, and it would be more correct to use this term ... ... Collier Encyclopedia
This term is based on the Greek ή μουσική (implying τέχνη art), that is, the art of the Muses (primarily the goddesses of singing and dancing). Later, it received a broader meaning from the Greeks, in the sense of the harmonious development of the spirit in general, and with us again ... ...
GREEK MUSIC- We have information about the music of the ancient Greeks mainly from theoretical works that have come down to us in a fairly large number. It is known that music, like other arts, enjoyed great respect in antiquity; on musicians not ... ... Riemann's musical dictionary
Not a single people in Europe has such a wealth of songs and tunes, beautiful and original, as the R. people. Even from the 18th century, we have evidence of how our songs surprised foreign musicians with their freshness and musical beauty.… … Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
- (România) Socialist Republic of Romania, SRR (Republica Socialistă România). I. General information R. socialist state in the southern part of Europe, mainly in the lower Danube basin. On the east it is washed by the Black Sea ... Great Soviet Encyclopedia
This is the name of music peculiar to this or that people and free from the admixture of elements alien to it. It expresses the spirit of the people and serves as an echo of its inner world. N. music reflects the joys and sorrows experienced by the people on their way ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
There are 12 steps in one octave. By choosing a sequence of increasing 7 - we get a Gamma of 7 notes.
There are dozens of scales themselves. You can build a scale from absolutely any note. The most important thing is the name. For example, E minor is a minor scale, which is built from any note of E on the fretboard. If there is F minor, it is also a scale, but the first note is shifted one fret closer to the soundboard. A scale does not have to be 7 notes. Maybe less, but more than nothing.
MAJOR SCALE
The major scale consists of seven sounds, which represent a certain sequence of large and small seconds. Let us designate the major second as "b.2", and the minor second as "m.2". Then the major scale can be represented as follows: b.2, b.2, m.2, b.2, b.2, b.2, m.2. A sequence of sounds with such an arrangement of steps is called a natural major scale, and a mode is called a natural major.Major scaleconsists of eight notes, with the last note duplicating the first, but located an octave higher. When recording scales, none of the lines, as well as none of the interlines of the staff, can be skipped. One of the features of ordinary major scales is connected with this: they contain either sharps or flats, but both characters are never found in their composition at the same time.
Seven degrees are distinguished in the scale (and, as already mentioned, there are eight notes: the last note of the scale is again the first degree). The steps of the scale are numbered in Roman numerals and each has its own name:
I: tonic
II: falling/upper opening tone
III: upper mediant
IV: subdominant
V: dominant
VI: lower mediant, submediant
VII: rising/lower opening tone
The major scale has the following structure:tone tone semitone tone tone tone semitone . To build a major scale, you need to take any note as a basis (tonic) and raise it a tone higher - this will be the second step of the scale. Then, according to the pattern, raise the second note by a tone - this will be the third degree, raise the third note by half a step - this will be the fourth degree of the scale, and so on.
Consider the structure of the Scale in D major as an example:
Recall that you first need to build two tones. So, Re-Mi is the tone. Very good. But mi-fa... stop! There is no "black" key between them. The distance between sounds is half a tone, but we need a tone. What to do? The answer is simple - raise the note F half a step up (we get F-sharp). Let's repeat: Re - Mi - F-sharp. That is, if we needed an intermediate key between the steps, and there was no black one between them, then let the white key play this intermediate role - and the step itself "moves" to the black one. Then half a tone is required, and we got it ourselves (between F-sharp and salt becar just half a ton distance), it turned out Re - Mi - F-sharp - Sol. Continuing to strictly adhere to the major scale scheme (let me remind you again: tone, tone, semitone, tone, tone, tone, semitone) we get D major scale, sounding exactly the same as the gamma sounded from BEFORE:
Since there are 12 semitones in an octave, you can play the scale starting from each of them, observing the structure: tone tone semitone tone tone tone semitone.
The result is 12 Gamma:
C major
D major
E major
F major
G major
A major
