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DIATONIC SCALE IN MAJOR MODE
& DEFINITION OF TONIC:
There are 7 scale-steps in any diatonic scale. A diatonic
scale is perceived as major when the scale-steps have the following
template of intervallic relationships:
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| major scale: |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
(1) etc. |
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| tones between scale-steps: |
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1 |
1 |
1/2 |
1 |
1 |
1 |
1/2 |
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Because of the asymmetrical distances
between steps in the scale,
all steps are not equal.
Each step has a different identity
and harmonic role when heard in a melody.
In the hierarchy, 1 is most important, then 5, etc. |
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7 =the
leading tone=1/2-step lower than 1 |
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| 5 =the
dominant |
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4 =the
subdominant=5 steps below 1 (use octave displacement) |
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3 =the mediant=fills
the triad between 1 and 5 |
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1 =the
tonic (note) |
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I =the
tonic (chord= 5-3-1 in any vertical combination) |
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I =the
tonic (key area=use of the above scale-steps only) |
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[Please note: the second two "one's" are designated
as Roman numeral I.] |
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DIATONIC SCALE IN MINOR MODE:
Every major diatonic scale, like the one diagrammed above, has
a minor diatonic scale which shares its "key signature"
or configuration of 1/2-steps and whole steps but starts two steps earlier,
shifting the intervallic template to a new minor identity. This
scale is called the relative minor. And the converse is true: if
you start with a minor scale, a scale starting on 3 of the minor will
be the relative major scale.
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| minor scale: |
6 |
7 |
1 |
2 |
3 |
4 |
5 |
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| minor scale: |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
and the roles of the scale-steps shift to accommodate |
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| tones between scale-steps: |
1 |
1/2 |
1 |
1 |
1/2 |
1 |
1 |
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Please note: if the tonic (key area) is minor,
and 6=1, and the relative major starts on 3. |
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MODULATION: TONIC TO DOMINANT
The most common modulation of the major diatonic
scale is to the dominant major diatonic scale. This means that
the same order of intervallic relationships found in the original scale
are shifted so that the order of half-steps and whole-steps begins at
5 instead of 1.
This is more easily accomplished than it sounds. If you simply raise
the scale-step 4 by a half-step (or #), the new relationships will
be in place as you can see below:
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| major scale modulated
into the dominant key: |
5 |
6 |
7 |
1 |
2 |
3 |
4# |
(5) etc. |
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| tones between scale-steps: |
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1 |
1 |
1/2 |
1 |
1 |
1 |
1/2 |
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4
must be raised a 1/2-step or sharped (#) to become
a leading tone and maintain the order and relationship of
1/2-steps and whole-steps in a major diatonic scale = new 7 |
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| 2 =the
dominant= new 5 |
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1 =the
subdominant= new 4 |
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7 =the mediant=new
3 |
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5 =the
dominant (note) is now the tonic (note)= 1 |
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V =the
dominant (chord= 2-7-5 in any vertical combination) |
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V =the
dominant (key area=use of the above scale-steps only) |
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[Please note: the second two are designated as
Roman numeral V.] |
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modulation from I to V (tonic to dominant
key areas) occurs when 4 is sharped (#) and becomes a new
leading tone. Then and only then, 4=7 and
5=1, etc.:
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| NEW major scale: |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
(1) etc. |
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MODULATION: TONIC TO SUBDOMINANT
Almost as common is the modulation of the major
diatonic scale is to the subdominant major diatonic scale. This
means that the same order of intervallic relationships found in the original
scale are shifted so that the order of half-steps and whole-steps begins
at 4 instead of 1.
One of the reasons this is the second most common modulation is because
it can be accomplished so easily. If you simply lower the scale-step 7
by a half-step (or b), the new relationships will be in place as you can
see below:
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| major scale modulated
into the subdominant key: |
4 |
5 |
6 |
7b |
1 |
2 |
3 |
(4) etc. |
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| tones between scale-steps: |
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1 |
1 |
1/2 |
1 |
1 |
1 |
1/2 |
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3
becomes the new leading tone = new 7 |
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1 =the
dominant= new 5 |
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7 must be lowered a
1/2-step or flatted (b) to become a new subdominant
and maintain the order and relationship of 1/2-steps and whole-steps=the
subdominant= new 4 |
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6 =the mediant=new
3 |
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4 =the
dominant (note) is now the tonic (note)= 1 |
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IV =the
dominant (chord= 2-7-5 in any vertical combination) |
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IV =the
dominant (key area=use of the above scale-steps only) |
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[Please note: the second two are designated as
Roman numeral IV.] |
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modulation from I to IV (tonic to subdominant key areas) occurs when 7 is flatted (b) and becomes a new subdominant. Then and only then, 7=4 and 4=1,
etc.:
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| NEW major scale: |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
(1) etc. |
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