Major Scales Patterns

Why This Matters

Major scales aren't just finger exercises—they're the DNA of Western music. When you understand how major scales are constructed, you unlock the ability to build chords, analyze harmonies, transpose on sight, and compose with intention. Every concept in tonal music theory—from chord progressions to modulation to modal interchange—traces back to the major scale's elegant architecture.

You're being tested on more than just playing scales. Exams want you to demonstrate understanding of interval patterns, key relationships, scale degree functions, and harmonic frameworks. Don't just memorize the notes of each key—know why the pattern creates that characteristic major sound, how keys relate to each other, and what musical possibilities each concept opens up. That's where the points are.

---

The Foundation: Interval Patterns

The major scale's distinctive bright, stable sound comes from a specific arrangement of whole steps and half steps. This intervallic formula remains constant regardless of which note you start on.

Whole and Half Step Pattern

• W-W-H-W-W-W-H defines every major scale—this sequence of whole steps (W) and half steps (H) creates the characteristic major sound
• Half steps occur between scale degrees 3-4 and 7-8—these two points of tension (especially 7 to 8) create the pull toward resolution
• Consistent interval structure enables transposition—apply this pattern starting on any pitch to build that key's major scale

Tetrachord Structure

• Two identical four-note groups build the scale—each tetrachord follows the pattern W-W-H internally
• A whole step separates the two tetrachords—the upper tetrachord of one scale becomes the lower tetrachord of the next sharp key
• Tetrachord overlap connects adjacent keys—this is why the Circle of Fifths works and why keys a fifth apart share six of seven notes

---

Key Organization Systems

Understanding how keys relate to each other is essential for sight-reading, transposition, and harmonic analysis. These organizational tools transform 12 separate keys into one interconnected system.

Circle of Fifths Progression

• Keys arranged by ascending perfect fifths clockwise—each step adds one sharp (or removes one flat), creating a logical progression
• Counterclockwise motion moves by perfect fourths—each step adds one flat, useful for understanding flat-key relationships
• Adjacent keys share maximum common tones—keys a fifth apart differ by only one pitch, making modulation smooth

Key Signature Patterns

• Order of sharps: F-C-G-D-A-E-B—memorize this sequence; sharps always appear in this order
• Order of flats: B-E-A-D-G-C-F—the reverse of sharps; flats accumulate in this fixed sequence
• Last sharp sits one half step below the tonic—quick identification trick: raise the last sharp by a half step to name the major key

---

Scale Degree Functions

Each note in a major scale has a specific name and harmonic function. These labels describe not just position but musical tendency and behavior.

Scale Degree Names

• Tonic (1), dominant (5), and leading tone (7) are most critical—tonic provides home base, dominant creates tension, leading tone demands resolution
• Subdominant (4) and mediant (3) provide harmonic color—subdominant moves away from tonic; mediant connects tonic and dominant functions
• Supertonic (2) and submediant (6) serve transitional roles—these degrees often appear in pre-dominant function, preparing dominant chords

Diatonic Chord Progressions

• Chords built on each scale degree follow a quality pattern—I, IV, V are major; ii, iii, vi are minor; vii° is diminished
• I-IV-V-I establishes the strongest tonal framework—this progression defines the key through tonic, subdominant, and dominant functions
• Circle-of-fifths root motion (vi-ii-V-I) creates momentum—roots moving by descending fifths generate powerful harmonic drive

---

Key Relationships

Major scales connect to other scales and keys in predictable ways. Understanding these relationships expands your compositional palette and analytical toolkit.

Relative Major and Minor

• Relative minor starts on scale degree 6 of the major—C major and A minor share identical key signatures (no sharps or flats)
• Both keys share all seven pitches but different tonics—the shift in tonal center completely changes the mood despite identical notes
• Minor third below the major tonic locates the relative minor—quick mental math: count down three half steps from the major tonic

Parallel Major and Minor

• Parallel keys share the same tonic but different signatures—C major (no flats) and C minor (three flats) both center on C
• Three pitches differ between parallel keys—scale degrees 3, 6, and 7 are lowered in natural minor
• Modal mixture borrows chords between parallels—using iv or ♭VI from minor in a major key adds emotional depth

---

Extended Applications

The major scale generates additional scales and enables flexible performance across instruments. These concepts demonstrate mastery beyond basic scale construction.

Modes Derived from Major

• Seven modes emerge from starting on each scale degree—Ionian (1), Dorian (2), Phrygian (3), Lydian (4), Mixolydian (5), Aeolian (6), Locrian (7)
• Each mode has a characteristic interval that defines its color—Lydian's raised 4th, Mixolydian's lowered 7th, Dorian's raised 6th (compared to natural minor)
• Modal thinking expands improvisational vocabulary—understanding modes as scale-degree collections (not just "starting on a different note") enables intentional color choices

Transposition of Major Scales

• Interval structure remains constant; pitches shift uniformly—every note moves by the same interval to maintain the scale's character
• Transposition accommodates instrument ranges and vocal tessituras—practical skill for arrangers and accompanists
• Thinking in scale degrees rather than note names speeds transposition—"3rd degree to 5th degree" works in any key

---

Quick Reference Table

---

Self-Check Questions

1. Interval application: If you're building a major scale starting on $F\sharp$, which note comes between scale degrees 3 and 4, and why is that half step significant for the scale's sound?

2. Key relationships: G major and E minor are relative keys. What do they share, and what single element makes them sound fundamentally different?

3. Compare and contrast: Explain how the tetrachord structure of C major connects to the key of G major. Why does this make modulation between these keys sound smooth?

4. Chord function: In a diatonic chord progression, why is the vii° chord diminished while the V chord is major, given that both contain the leading tone?

5. Applied analysis: A composer uses a $\flat VI$ chord in a piece that's clearly in C major. What relationship is the composer exploiting, and what effect does this typically create?