Stable Tones: (1,3,5)

Tonic:

• The tonic is the 1st degree of the scale. All other notes are based around the tonic and gravitate towards it.

Dominant:

• The dominant is the 5th degree. This is a solid or stable note.

Third degree:

• The 3rd degree is stable; however, it is not as stable as the tonic or the dominant.

Unstable Tones: (2,4,6,7)

Second degree:

• The 2nd degree moves most commonly to the tonic but also to the 3rd.

Sixth degree:

• The 6th degree tends to move to the dominant (5th) which is most stable. The 6th degree also moves to the 7th but it is not as stable as 5th degree.

Seventh and Fourth degrees:

• The 7th and 4th degrees usually move by half steps and are the most unstable tones.
• The 7th (not the b7) commonly resolves to the tonic (1st). The pull from the 7th to the tonic is very strong.
• The 4th degree commonly resolves to the 3rd as the 4th is not a chord tone in tonic chords.

Please note: all of the modes contain the same stable tones (1,3,5) and unstable tones (2,4,6,7).

© 2009, Synaptic Systems Inc.

Lets start in the key of C.

If we re-spell the C Major scale (Ionian) starting from each subsequent degree in the scale, we end up with the following:

In the example above, the modes are all relative to C Ionian or the key of C Major. They are simply a re-spelling of that scale.

Now, lets see the modes in parallel to C Ionian. Each mode is related to a different key / different major scale.

C Dorian is parallel to C-Ionian. It is relative to Bb Major / Bb Ionian.

C Phrygian is parallel to C-Ionian. It is relative to Ab Major / Ab Ionian.

C Lydian is parallel to C-Ionian. It is relative to G Major / G Ionian.

C Mixolydian  is parallel to C-Ionian. It is relative to F Major / F Ionian

C Aeolian is parallel to C-Ionian. It is relative to Eb Major / Eb Ionian

C Locrian is parallel to C-Ionian. It is relative to Db Major / Db Ionian.

Memorize the names of the modes and their relative and parallel relationships. In time, this will help you apply them to your instrument. Once you have begun improvising with the modes, knowing their characteristic pitches will help you to capture each modes individual sound.

© 2009, Synaptic Systems Inc.

To harmonize the scale, we simply take the 1st 3rd, 5th and 7th notes of the C scale and spell them out.

C D E F G A B C D E F G A B C

C E G B

Then we start again from the 2nd note in the scale and count the 1st, 3rd , 5th and 7th notes from that point.

C D E F G A B C D E F G A B C

D F A C

Again from the 3rd note in the scale, count the 1st, 3rd , 5th and 7th  note from that point.

C D E F G A B C D E F G A B C

E G B D

Continue to do this all the way to the 7th note in the scale and you end up with:

C E G B
D F A C
E G B D
F A C E
G B D F
A C E G
B D F A

In lesson 6, we saw that C E G (1 3 5)  made up the major chord in the key of C. Here, we have added the 7th note (B)  from the scale.

The result (1 3 5 7) is the CMaj7 chord.

So, what are all the other ones? Lets start with D F A C

First, lets spell out the major scale that starts on D. (see lesson 3)

D E F# G A B C# D

The scales 3rd note is F#. Our 3rd note is F. The note F is a flatted 3rd (b3) in the D major scale. We know from lesson 6 that D F A =  minor triad.

The 7th note C is a flatted 7th (b7) note from the scale.

1 b3 5 b7 = minor 7

So the resulting chord is a Dmin7 chord.

Lets look at E G B D

Again, lets spell out the major scale that starts on E.

E F# G# A B C# D# E

The scales 3rd note is G#. Our 3rd note is G. The note G is a flatted 3rd (b3) in the E major scale.

We know from lesson 6 that E G B = minor triad

Again, the 7th note D is a flatted 7th (b7) note from the scale.

1 b3 5 b7 = minor7

So the resulting chord is a Emin7 chord.

Using the same procedure all the way up the scale, we end up with:

F A C E – FMajor7

G B D F – G7

A C E G – Amin7

B D F A – Bmin7b5  (also known as B half diminished)

If we put them all together now, we end up with:

This order of chords will result regardless which major scale you harmonize. Knowing this is very useful for several reasons.

1) If you are asked to play a 2 5 1 chord progression in any key, with a little thought, you now can.

With the added 7th, a 2 5 1 chord progression in the key of C is Dmin7, G7 and C Maj7.

Exercise: What is a 2 5 1 in the key of G?

2) Another reason is that if you want to transpose a song from its existing key to another that better matches your vocal range, you can do this as well. Suppose that a song on a chart has the following chord progression in the key of C.

C Maj7     G7    Amin7     F Maj7

Now suppose that you are way more comfortable singing in the key of D ( C is just a little to low for you ). To transpose this, we simply determine what number in the key of C these chords represent. We find that:

C Maj7     G7    Amin7     F Maj7  =  1  5  6  4 in the key of C.

Now apply those numbers to the key of D and you will find that:

1  5  6  4 in the key of  D  =   D Maj7     A7    Bmin7     G Maj7

Exercise: Transpose  the progression C Maj7   G 7   A Min7   F Maj7   into the key of E.

3) From the standpoint of improvisation, it is very useful to know the relationship between chords and scales.  We won’t  really get into this now other than to say that if you played the 1 5 6 4 progression we just mentioned in the key of  C, the C Major scale can be played over that whole chord progression as these chords are all made up of notes  from that scale. Much more on this later in the lesson on “the modes”.

© Synaptic Systems Inc., 1999

What we are going to do is “harmonize” the C major scale.
To harmonize the scale, we simply take the 1st 3rd and 5th note of the C scale and spell them out.

C D E F G A B C D E F G A B C

C E G

Then we start again from the 2nd note in the scale and again count the 1st 3rd and 5th note from that point.

C D E F G A B C D E F G A B C

D F A

Again from the 3rd note in the scale, count the 1st 3rd and 5th note from that point.

C D E F G A B C D E F G A B C

E G B

Continue to do this all the way to the 7th note in the scale and you end up with these triads:

C E G
D F A
E G B
F A C
G B D
A C E
B D F

Now the fun begins. You will remember from lesson 5 that C E G (1 3 5)  made up the major chord in the key of C.

So, what are all the other ones? Lets start with D F A

First, lets spell out the major scale that starts on D. (see lesson 3)

D E F# G A B C# D

The scales 3rd note is F#. Our triads 3rd note is F. The note F is a flatted 3rd (b3) in the D major scale.

D F A = 1 b3 5 out of our D major scale. 1 b3 and 5 = minor triad

Therefore, D F A = D minor

Look at E G B

Again, lets spell out the major scale that starts on E.

E F# G# A B C# D# E

The scales 3rd note is G#. Our triads 3rd note is G. The note G is a flatted 3rd (b3) in the E major scale.

E G B = 1 b3 5 out of our D major scale. 1 b3 and 5 = minor triad

Therefore, E G B = E minor

Exercise: Using the same procedure, do the next 4 triads yourself.

F A C
G B D
A C E
B D F

If you’ve done it right, you will find the following chords are the result of this exercise:

F A C Major
G B D Major
A C E Minor
B D F Diminished

If we put them all together now, we end up with:

This order of chords will result regardless which major scale you harmonize in triads. Knowing this is very useful for several reasons.

1) If you are asked to play a 2 5 1 chord progression in any key, with a little thought, you now can.

A 2 5 1 chord progression in the key of C is D Minor, G Major, C Major.

Exercise: What is a 2 5 1 in the key of G?

2) Another reason is that if you want to transpose a song from its existing key to another that better matches your vocal range, you can do this as well. Suppose that a song on a chart has the following chord progression in the key of C.

C Major     G Major     A Minor     F Major

Now suppose that you are way more comfortable singing in the key of D ( C is just a little to low for you ).

To transpose this, we simply determine what number in the key of C these chords represent. We find that:

C Major     G Major     A Minor     F Major  =  1  5  6  4 in the key of C.

Now apply those numbers to the key of D and you will find that:

1  5  6  4 in the key of D =  D Major     A Major     B Minor     G Major

Exercise: Transpose  the progression C Major   G Major   A Minor   F Major   into the key of E.

3) From the standpoint of improvisation, it is very useful to know the relationship between chords and scales. We won’t really get into this now other than to say that if you played the 1 5 6 4 progression we just mentioned in the key of C, the C Major scale can be played over that whole chord progression as these chords are all made up of notes from that scale. Much more on this later in the lesson on “the modes”.

© Synaptic Systems Inc., 1999

Similarly, there are formulas that can be applied to determine or construct any chord in any key.

What is a triad?
A triad is a combination of three notes sounded together.

Major Chords (triads):

Major chords are always made up of the 1st, 3rd and 5th note of any major scale.

For example, in the key of C: C D E F G A B C

C E G are the notes that make up the C major chord. The C note is the root of this chord.

A word on Inversions:

It is important to know that these notes do not necessarily need to be played in that order. In fact, they can be played in any sequence and are called inversions.

C E G     E G C    G C E     C G E    E C G   etc.

For now, lets concentrate on the basic 1st, 3rd and 5th notes for learning our triads.

Minor Chords (triads):

Minor chords are always made up of the 1st,  b3rd and 5th note of any major scale.

For example, in the key of C: C D E F G A B C

C Eb G are the notes that make up the C minor chord. The C note is also the Root of this chord.

Diminished Chords (triads):

Diminished chords are always made up of the 1st,  b3rd and b5th note of any major scale.

For example, in the key of C: C D E F G A B C

C Eb Gb are the notes that make up the C diminished chord. Once again, the C note is the Root of this chord.

Memorize:

1 3 5      = major triad

1 b3 5    = minor triad

1 b3 b5  = diminished triad

© Synaptic Systems Inc., 1999

To work our way through the flat keys we will use ..

The Cycle of Fourths.

Again, lets go back to the key of C which has no sharps or flats and this time count up 4 natural notes including C.

C   D   E   F

Our 4th note is F.  Lets have a look at the F major scale or key of  F:

This is the F major scale (  key of  F )

In order to conform with our rules of major scale construction, we needed to add the flat, Bb.

It turns out that the order of flats is exactly the same as the order of sharps with one exception. It is backwards.

The Order of  Flats

Battle Ends And Down Goes Charlies Father

The first letter of each word represents the order of  flats.

Using this order and the Cycle of Fourths, you can work out all of the flat keys as shown below.

The diagram below spells out all the flat keys.

	Key of	Number of flats	Order & name of flats Usually called Key Signature
1	C	0
2	F	1	B
3	Bb	2	B E
4	Eb	3	B E A
5	Ab	4	B E A D
6	Db	5	B E A D G
7	Gb	6	B E A D G C
8	Cb	7	B E A D G C F

As we use the Cycle of Fourths, we see that the Fourth note we count represents the first note in the next major scale.  It also represents the name of the key in which that major scale belongs.  As we saw with the sharp keys, if the name of the note we counted to has a flat in its order, then we MUST add that flat to the name. For example, when we count up 4 from F, we arrive at B. Since B has a Bb in its order of flats, it is called the key of Bb.

Notice also the Cb in the 7th key.  There is no such note in our musical alphabet.  Cb is actually the note B. However, in order to keep our alphabetical order we had to call that note  Cb.

The last key, Cb should be quite clear now if you have understood the key of  Gb.  The key of Cb has a Cb and Fb.  Again this is necessary in order to maintain alphabetical order in the major scale.

It would be very beneficial for you to write out in diagram form ( like the F major illustration above ) all of these scales. It will help you to get a better handle on this lesson.

© 1999, Synaptic Systems Inc.

The Cycle of Fifths 

Lets go back to the key of C which has no sharps or flats and count up 5 natural notes including C.

C   D   E   F   G

Our 5th note is G.  As we know, the key of G has one sharp.  Now let’s count up five natural notes from G including G.

G   A   B   C   D

Our 5th note is D, it’s key has two sharps.

This is the D major scale (  key of  D )

Now lets go back again to the key of C.  The key of C has no sharps no flats.  The key of G has one Sharp F.  The key of D has two sharps F, C.  The next key will have three sharps F, C, and  _ ? Can you guess?  You won’t have to after you’ve memorized the following order.

The Order of Sharps

Father Charles Goes Down And Ends Battle

The first letter of each word represents the order of Sharps.

The diagram below spells out all the sharp keys.

As we use the Cycle of Fifths, we see that the fifth note we count represents the first note in the next major scale.  It also represents the name of the key in which that major scale belongs.  You might be wondering why the 7th key is F# and not F and why the 8th key is C# and not C.  We’ll start with F#.  The order of sharps dictates which notes MUST be sharp in any given key. When we counted 5 notes up from B (the 6th key) we arrived at F.  Since the order of sharps for that key contains an F#, we must call that first note F# and not F.  Therefore, the major scale will start on an F# and can only be called an F# Major Scale or the key of F#.

Notice also the E# in the 7th key.  There is no such note in our musical alphabet.  E# is actually the note F. However, in order to keep our alphabetical order we had to call that note  E#.

The key of C# should be quite clear now if you have understood the key of F#.  The key of C# has an E# and B#.  Again this is necessary in order to maintain alphabetical order in the major scale.

It would be very beneficial for you to write out in diagram form ( like the D major illustration above ) all of these scales. It will help you to get a better handle on this lesson.

© 1999, Synaptic Systems Inc.

As we saw in lesson 2 (major scales part 1), the placement of tones and semi-tones is what gives each type of scale its individual sound.

If we take the C Major scale and flatten the 3rd, 6th, and 7^th degrees, we get the following placement of tones and semi-tones.

If you were to start on any note and apply this order of tones and semi-tones ( T, ST, T, T, ST, T, T) you would end up playing a minor scale.

Parallel and Relative Minor Scales

Parallel minor scales start on the same note as their major scale counterparts. In the above example, the C minor scale started on the same note as the C Major scale. Therefore the C minor scale is the parallel minor of C major.

Relative minor scales start from the 6th degree (or 6th note) of the major scale.

For example, A minor is the relative minor of C major.

In the last 2 lessons, you have seen that the major scale is also known as Ionian and that the minor scale is also known as Aeolian. In upcoming lessons, we will further explore all of the related scales called modes.

© 2009, Synaptic Systems Inc.

The major scale (also called Ionian) is the building block from which all other scales and chords are derived.  There are two rules which must be followed when building a major scale.

1. All major scales must consist of two tetrachords connected by a tone:

This is the C major scale.

2. All major scales must follow an alphabetical order.

This is the G major scale.

Notice the F#. As you learned in lesson 1, F# is the same note as Gb. However, even though the scale sounds the same regardless what we name that note, we can not call it Gb. If we did, the scale would be spelled as follows.

G A B C D E Gb G    <—– incorrect

This would break our alphabetical order rule and so is therefore theoretically incorrect.

© 1999, Synaptic Systems Inc.

Semitone: (also called a half step)
The distance between any note and the 1st note right after it on your instrument.

Tone: (also called a whole tone or full step)
The distance between any note and the 2nd note right after it on your instrument.

Symbols: # Sharp
When this symbol is placed next to a note, that note is raised (sharpened) one semitone.

Symbols: b Flat
When this symbol is placed next to a note, that note is lowered (flattened) one semitone.

Musical Alphabet:

Look at the picture of the piano keyboard below.

The keyboard has white keys and black keys. They are in a sequence that repeats itself every 12 notes. The white keys are all natural notes which means that in our musical alphabet, they are named as follows:

A  B  C  D  E  F  G

If we name all of the keys, the keyboard looks like this:

The black notes are either # notes or b notes. If you look at the keys, you will notice that there are no black notes between B and C or between E and F. With that in mind, using sharps, we can spell the musical alphabet as follows:

A   A#   B   C   C#   D   D#   E   F   F#   G   G#
Memorize: There is no B# or E# in the musical alphabet.

And using flats it spells out like this:

A   Bb B   C   Db D   Eb E   F   Gb G  Ab
Memorize: There is no Cb or Fb in the musical alphabet.

You may be wondering why there are 2 names for the same note. For example, A# and Bb are in fact the same note. So are C# and Db. The reason for this will be explained in the following lessons.

Tetrachord:

A tetrachord is any sequence of notes that conforms to the following order.

Tone Tone Semitone

For example: C  D  E  F  is a tetrachord.

Other examples of tetrachords are:
G A B C        or       Bb C D Eb or       A B C# D

That’s it for lesson 1. Be sure you study, understand and have memorized:

What is a semitone?
What is a tone?
What is a sharp?
What is a flat?
What is a Tetrachord?
Recite the Musical Alphabet

© 1999, Synaptic Systems Inc.