Major Scale Formula|
Major Scale Formula |
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The Major Scale Formula is the result of the comparison between the C major scale (made up of the natural notes) and the chromatic scale (made up of all half steps). In this comparison, the distance between the notes C - D; D - E; F - G; G - A; and A - B is classified as a whole step, and the distance between the notes E - F and B - C is classified as a half-step.
This creates a sequence of half-steps and whole-steps in this order:
W - W - H - W - W - W - H,
where W represents a whole-step,
and H represents a half-step.
This is the major scale formula.
| C# Db |
D# Eb |
F# Gb |
G# Ab |
A# Bb |
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| C | D | E | F | G | A | B | C | ||||||||||||||||||||
| whole step |
whole step |
half step |
whole step |
whole step |
whole step |
half step |
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When notating in a major scale, the deviations from the original major scale are displayed with accidentals [sharps, flats and naturals]. In terms of scale degrees and solfege, the direction of movement influences the enharmonic spelling (and syllable-singing) of the note in question. To put it simply, sharps go up; flats go down.
| scale degrees | ||||||||||||
| 1 | #1 b2 |
2 | #2 b3 |
3 | 4 | #4 b5 |
5 | #5 b6 |
6 | #6 b7 |
7 | 8 1 |
| solfege syllables | ||||||||||||
| do | di ra |
re | ri me |
mi | fa | fi se |
sol | si le |
la | li te |
ti | do |
The designations of scale-degrees are equivalent to the analysis numbers for Roman Numeral Analysis. Thus we can have I chords, #I chords, bII chords and II chords, for example.
The major scale formula creates the need for accidentals in key signatures. Essentially, a key signature shows which notes are changed to produce the major scale formula starting on the keynote.
| KEY | SHARPS [#] IN KEY* | KEY | FLATS [b] IN KEY |
| G | F# | F | Bb |
| D | C#..F# | Bb | Bb..Eb |
| A | G#..C#..F# | Eb | Bb..Eb..Ab |
| E | D#..G#..C#..F# | Ab | Bb..Eb..Ab..Db |
| B | A#..D#..G#..C#..F# | Db | Bb..Eb..Ab..Db..Gb |
| F# | E#..A#..D#..G#..C#..F# | Gb | Bb..Eb..Ab..Db..Gb..Cb |
| C# | B#..E#..A#..D#..G#..C#..F# | Gb | Bb..Eb..Ab..Db..Gb..Cb..Fb |
| *NOTE: Sharps are written in the cycle of fifths. When writing key signatures in staff notation, the F# is always listed first, then C# - G# - D# - A# - E# - B# (reverse order) | |||
Note that three of the keys are enharmonic to each other:
B and Cb, F# and Gb, and C# and Db.
Thus, there are fifteen key signatures, but only twelve actual sounding keys,
one for each pitch class of the chromatic scale.
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