In order to obtain similar accidentals, we use the minor-parallel or parallel minor scale, or aeolian mode, which can be found on the VI of any major scale. It is also possible to construct a similar series when studying minor. When constructing this on different tones, we can set the scales we find into the following order by number of accidentals, those we find having sharps:Īnd those we find having flats: If we allow for the use of double sharps and flats, more scales are possible, but for practical reasons the keys (and hence the scales) remain limited to those employing a maximum of 7 accidentals. The total scale thus shows 1 1 ½ 1 1 1 ½. The remaining interval f g is a consequence of this tetrachordal construction, and in itself a whole step (major second). These tetrachords are both connected to the fundamental c, the first has it as lowest, the second as highest note. Without use of accidentals, only the scale of c major yields this strucure in both tetrachords: both c d e f and g a b c share this structure: 1 1 ½. It is possible to construct a major scale on every tone, and different accidentals are needed to induce the proper order of steps: whole, whole, half in both tetrachords (4 tone scale part). The beginner’s learning book can be found at Basic elements of music theory.Ĭhapter 4: Basic building blocks of melody and harmonyĬhapter 6: Circle of fifths and transpositionĬhapter 7: Concerning rhythm, melody, harmony and formĬircle of fifths Major scales in order of accidentals
Chapter 6 of the Outline of basic music theory – by Oscar van Dillen ©2011-2020
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