W W H W W W H
Also known as Whole Whole Half Whole Whole Whole Half.
Also known as Whole Step Whole Step Half Step Whole Step Whole Step Whole Step Half Step.
Also known as the Major Scale, which is also known as 1 2 3 4 5 6 7 8 (1).
Take any note -- C for example -- And call it "1"
C = 1.
Now...up a (the first) Whole Step -- C to D. Because D is the second note in our sequence, let's call it "2"
C = 1, D = 2.
Now, from D, up another (the second) Whole Step -- D to E. Because E is the third note in our sequence, let's call it 3.
C = 1, D = 2, E = 3.
So far we have done "W W" in the "W W H W W W H" sequence. As such, let us go up a (the first) Half Step -- E to F. Because F is the fourth note in our sequence, let's call it "4"
C = 1, D = 3, E = 3, F = 4.
Now we have three whole step jumps in a row
F up a Whole step to G
G = 5
G up a Whole Step to A
A = 6
A up a Whole Step to B
So far we have gone W W H W W W. Now, we do the final movement, a half step, and in so doing, complete our W W H W W W H sequence, and form a Major Scale
B up a Half step to C -- the same note with which we began.
OF COURSE this sequence works with all (12) starting notes. W W H W W W H is the "formula" for a Major Scale, and the numeric name for a Major Scale is 1 2 3 4 5 6 7 8 -- regardless of starting note.
W W H W W W H
/ \ / \ / \ / \ / \ / \ / \
F# G# A# B C# D# E# (F) F#
One of the reasons why we love the Key of C is because the Major Scale (1 2 3 4 5 6 7 8 ) is visually unified on the piano...it's all the white keys. Further, in this instance, the black keys on the piano represent "alterations" to the Major Scale. You can see the above F# major scale is graphically, visually more complex than C major. That said qualitatively (harmonically) they are the same.
As mentioned, in the key of C, the black keys neatly reveal themselves as alterations to the major scale. They are called either by their "b" or "#" name.
In the key of C, the "3" is "E", the "b3" is "Eb"
In the key of C, can you guess which note the #4 is? [F#]
How about Ab? What is it's numeric equvalent? [b6]
This way of looking at note names as numbers is really handy. DO NOT RESIST! It is how we are going to speak about notes and harmony going forward. Starting now--for not only can we speak of scales numerically, but we can speak of that which is made from scales, i.e., chords and melodies, using numbers.
That we now, going forward speak of scales and chords and melodies in terms of numbers ipso facto understands that everything is always transposed to and practiced in all twelve keys.
Thus, "1 3 5" equals CEG / CE#G# / DF#A / EbGBb / etc... and since for the last five weeks you have been actively transposing every single bit of material through all 12 keys, via various patterns, you shall neither fear nor resent this numeric system nor the responsibility of being a 12 key musician.
Speaking of "1 3 5", what do you think that is "in the key of C" or "with C as the 1?"
C = 1, D = 2, E = 3, F = 4, G = 5.
What do you think it is in the key of F? The key of G? And the other 9 keys or starting points, or 1?
Certainly you remember C E G as a major third with a minor third on top, and if you remember that, you remember that is the same as a MAJOR TRIAD.
Thus a MAJOR TRIAD can be thought of as "the 1 3 5" (first note, third note, fifth note) of any major scale
If an AUGMENTED TRIAD is the "same" as a MAJOR TRIAD with a "raised 5th", how do you "spell" a C Aug triad?
Augmented triad = 1 3 #5. In the key of C, the "1" is C, the "3" is E and the "5" is G. If you raise the 5th in the key of C, you raise the note "G" one half step...to G#
Thus, and AUGMENTED TRIAD in the key of C = C E G#. We know this is right, as we know that an AUGMENTED TRIAD is the same as two major thirds on top of one another. We know C to E is a major third, and we know that E to G# is a major third.
How about a minor triad? We know that to be a minor third with a major third on top. Let's check it out in the key of...C!
C (up a minor third) Eb (up a major third) G.
How would YOU write C, Eb, G numerically? If you said 1 b3 5, you are correct, and a good person.
Can you guess how a diminished triad is numerically spelled?
Remember our friend C Eb Gb?
Now if C E G = 1 3 5 and C Eb G = 1 b3 5
how do you think C Eb Gb is numerically spelled?
1 b3 b5?
YES! GREAT JOB! BOOM BOOM CLAP 2020!
Thus far we have established
Major Scale: 1 2 3 4 5 6 7 8
Augmented Triad: 1 3 #5
Major Triad: 1 3 5
Minor Triad: 1 b3 5
Diminished Triad: 1 b3 b5
Before we quit, two more scales--the Dorian scale (a minor scale) and the Mixolydian scale (a Dominant scale)
Perhaps you have heard of "the modes" and their exotic greek names, and WORST OF ALL that modes "derive" from the major scale.
While it is true that the modes do derive from the major scale, that very thought is simple clutter for our applications.
For our purposes, the Dorian Scale is a mode of nothing. It is the Dorian Scale, and it is numerically spelled 1 2 b3 4 5 6 b7 (8)
and so, in the key of C, it is C D Eb F G A Bb (c)
transpose that into all twelve keys. practice in all twelve keys until I tell you to stop, in the form of a telegram.
Similarly, the Mixolydian scale is also a mode of nothing, because at this juncture we don't care about the theory behind the modes. I personally haven't cared about modes and their harmonic underpinnings for at least 2 decades, maybe more.
The Mixolydian scale is numerically spelled 1 2 3 4 5 6 b7 (8)
In the key of C we have C D E F G A Bb C
transpose that into all 12 keys, practice until you levitate off the ground.
Perhaps you've noticed I have not given the "W" and "H" equivalent to the dorian and mixolydian scales. I don't think it is a bad thing to know what they are, though if were to choose, I ask you to choose this numerical system one which takes the Major Scale as the "starting point" and alters from there.
Before I go, let's begin to look at the 7th chord. True, you can stack either a minor or Major third atop the 5th in the various triads, but let's look at these chords numerically instead.
If we take the 1, 3 5 and 7 of a C MAJOR scale, we get the notes C, E, G and B--the 7th note in the C Major scale. Logically, C E G B (the 1 3 5 7 from a C major scale) is called a C MAJOR 7TH CHORD if played all at once, or ARPEGGIO if played one after another.
So....F Major 7th arpeggio...can you guess the notes?
w w h w w w h
F G A Bb C D E F
1 2 3 4 5 6 7 8
Did you guess F A C E? if so, FACE it, you're doing great!
Now, what happens if we take the first, third, fifth and seventh note from a Dorian scale?
1 2 b3 4 5 6 b7 8
C D Eb F G A Bb C
C Eb G Bb.
Sort of looks like a C minor triad (1 b3 5) with a b7 (Bb) on top...perhaps because that is exactly what it is!
And so, let us conclude that a MINOR SEVENTH chord or arpeggio is the 1 - b3 - 5 - b7 of any major scale
Lastly, the mixolydian scale. Can you do the rest?
1 2 3 4 5 6 b7 8
C D E F G A Bb C
1 - 3 - 5 - b7
C E G Bb
and so, let us conclude that the DOMINANT 7th (not the mixolydian seventh, sadly) chord or arpeggio is built upon the 1 - 3 - 5 - b7 of the Major Scale.
and so, in sum:
Major Scale 1 2 3 4 5 6 7 8 (MAJOR)
Mixolydian 1 2 3 4 5 6 b7 8 (DOMINANT)
Dorian 1 2 b3 4 5 6 b7 8 (minor)
Major 7th 1 3 5 7
Dom 7th 1 3 5 b7
min 7th 1 b3 5 b7
IN ALL TWELVE KEYS PLEASE
THANK YOU!
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