scale syllabus
So from what melodic resources do
all of our American melodies come from? If all of the scales and chords can come from the chromatic scale, do all melodies come from the chromatic scale
too? Well, I guess they could, but what scale resources are the most common? Well, that
depends on what style of music you dig. Are certain groups of pitches used to create the
sounds of a particular musical style? Sounds reasonable enough eh? Here is a chart pairing
various American musical styles with the musical resources so often used to create them.
| traditional folk,
bluegrass and pop players |
mainly use the
pentatonic scales, the major scale and various minor scales and diatonic chords created
from these scales to create the music which personifies the emotional essence of the story
being told. |
| blues, country and rock
players |
for the most part use
the minor and major pentatonic scales with a heavy blues color influence, the chords used
to back these lines are created from the major scale and 90 % diatonic. |
| jazz players |
use the major and minor
scales, various altered scales, the modes and everything in between, chords are created
from whatever melodic resource is chosen and are not diatonically limited. |
The key factor in regards to
learning the theory is to initially focus in on those aspects that are used to create the
music you are playing. Once this theory of what you are already doing musically is
understood, it's easy to create new paths of learning by tying into one's existing
knowledge. What is your path?
Scale syllabus / intervalic formulas.
Here is a chart examining the intervalic formula of whole steps and half steps for our equal tempered scale groups as
they are gradually altered from a five note pentatonic group into
other popular scales used to create the coolness of the various styles of American music.
Example 1.
| formula |
|
|
|
-3rd |
|
1 |
1/2 |
1/2 |
|
|
-3rd |
|
1 |
| minor blues |
C |
|
|
Eb |
|
F |
F# |
G |
|
|
Bb |
|
C |
| formula |
|
|
1 |
1/2 |
|
1 |
|
1 |
|
1 |
1/2 |
|
1 |
| Dorian mode |
C |
|
D |
Eb |
|
F |
|
G |
|
A |
Bb |
|
C |
| formula |
|
1/2 |
|
1 |
|
1 |
|
1 |
1/2 |
|
1 |
|
1 |
| Phryg. mode |
C |
Db |
|
Eb |
|
F |
|
G |
Ab |
|
Bb |
|
C |
| formula |
|
|
1 |
|
1 |
1/2 |
|
1 |
|
1 |
1/2 |
|
1 |
| Mixo. mode |
C |
|
D |
|
E |
F |
|
G |
|
A |
Bb |
|
C |
| formula |
|
|
1 |
1/2 |
|
1 |
|
1 |
1/2 |
|
|
1 |
1/2 |
| harm. minor |
C |
|
D |
Eb |
|
F |
|
G |
Ab |
|
|
B |
C |
| formula |
|
|
1 |
1/2 |
|
1 |
|
1 |
1 |
|
1 |
|
1/2 |
| mel. minor |
C |
|
D |
Eb |
|
F |
|
G |
|
A |
|
B |
C |
| formula |
|
|
|
-3rd |
1/2 |
1/2 |
1/2 |
1/2 |
|
|
-3rd |
|
1 |
| major blues |
C |
|
|
Eb |
E |
F |
F# |
G |
|
|
Bb |
|
C |
| formula |
|
|
1 |
1/2 |
|
1 |
1/2 |
|
1 |
1/2 |
|
1 |
1/2 |
| dim.
scale |
C |
|
D |
Eb |
|
F |
Gb |
|
Ab |
A |
|
B |
C |
So, quite a few choices eh? Through 12 keys, and the interval studies.
Hear these groups in action on the tonal
convergence pages.
| Where
to next? |
| review |
new
ideas |
 |
 |
|
"One man gathers what
another one spills."
Robert Hunter / Jerry Garcia