Learning Objectives
- Apply the major scale pattern of whole and half steps (WWH W WWH) to build major scales on any scale degree.
Scales V: Building Major Scales
Building Major Scales
In order to build a major scale, it is not necessary to transpose another scale to get to it. We can build a major scale without referring to any other scales, simply by using the correct pattern of whole and half steps. A major scale can start on any note—for example, a D major scale would start on D and a B-flat major scale would start on B♭ —but all of them will use the same WWH W WWH pattern.
| Remember |
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Let's try building a major scale on G. We will start by simply writing the notes from G to G on the staff (as shown in the example below). The resulting pattern of whole and half steps is correct for the first part of the scale: a whole step from G to A, a whole step from A to B, a half step from B to C, awhole step from C to D, and a whole step from D to E. (You might want to refer a keyboard if you are having trouble envisioning where these whole and half steps are on the staff.) But the rest of the scale pattern is incorrect: we should have another whole step followed by a half step, but instead we have the opposite (a half step from E to F and a whole step from F to G). We can solve both of these problems by adding a single accidental to the scale. Click on "Show Me" to see the solution.
| Building a major scale on G |
By raising the F to an F#, we now have a whole step from E to F# (between scale degrees 6 and 7), followed by a half step from F# to G (between scale degrees 7 and 8). The pattern is now correct, and we have successfully built a G major scale. We have also discovered that the G major scale requires an F#. In other words, the key of G major has one sharp in it, and that sharp is an F#.
Listen to the two scales below. The first is a G major scale (G A B C D E F# G). The second is a scale that starts on G, but does not have an F# in it (G A B C D E F G). In the first scale, the F# leads the ear upward towards the tonic. (As we will see in our next lesson, this seventh scale degree is called a leading tone.) In the second scale, this feeling of upwards resolution towards the tonic is missing. And since the overall pattern of whole steps and half steps is different from the pattern we have learned (WWHW WWH), it is not a G major scale.
G major scale with F#
| G major scale with F# |
G scale with F-natural
| G scale with F-natural |
Take a moment now to play the G major scale on the virtual piano below. Try singing the note names as you play them. Don't forget the F#!
Click this small keyboard icon below.
Keyboard x
Scale-Building Practice
Writing major scales accurately takes a lot of practice. It is easy to make a mistake if you are not careful. Generally, the best approach is to refer to or visualize a keyboard (or to work at one) so that you can clearly see where the whole steps and half steps are in the scale. These whole and half steps are not clearly visible on the staff.
The other thing to keep in mind is that you should always build your scales from left to right. You need to make sure that the pattern of whole and half steps is correct up to the point where accidentals are required. Let's look at a few more examples for additional practice.
Which accidentals would you need to add here to create a D major scale? Click on "Show Me" to see the solution.
| Building a major scale on D |
D to E is already a whole step, but in order to create another whole step above E, an F# is required. Working from left to right, we now move from F# to G, which is now (correctly) a half step. There is a whole step from G to A, and a whole step from A to B. But in order to create a whole step above B, a C# is required. The final step from C# to D is now a half step. Thus, the key of D major requires two sharps (F# and C#).
Take a moment to play the scale of D major on the virtual piano below. Sing the note names as you play them.
Click this small keyboard icon below.
Which accidentals would you need to add here to create a F major scale? Click on "Show Me" to see the solution.
| Building a major scale on F |
F to G is already a whole step, and G to A is a whole step, but in order to create a half step above A, a B♭ is required. (Why wouldn't it work to use an A# to create a half step between scale degrees 3 and 4? Because then we would have two As and no Bs in our scale—remember that we need one of each letter name.) Working from left to right, we move from B♭ to C, which is now a whole step. There is a whole step from C to D and a whole step from D to E. We also already have a half step from E to F. Thus, the key of F major only requires one flat ( B♭ ).
Take a moment to play the scale of F major on the virtual piano below. Sing the note names as you play them.
Click this small keyboard icon below.
Which accidentals would you need to add here to create a B-flat major scale? Click on "Show Me" to see the solution.
Animation missing: "Building a major scale on B♭"
The step from B♭ to C is already a whole step, and the step from C to D is a whole step, but in order to create a half step above D, an E♭ is required. We now move from E♭ to F, which is correctly a whole step. There is a whole step from F to G, and a whole step from G to A. The final step (between scale degrees 7 and 8) must be a half step, which means that our final note needs to be a B♭ . This is good, because the final note of the scale should always be the same as the first note of the scale, using the same accidental. Thus, we see that the key of B-flat major requires two flats ( B♭ and E♭ ).
Take a moment to play the scale of B-flat major on the virtual piano below. Sing the note names as you play them.
Click this small keyboard icon below.