theory of scales

The theory of scales in this text is initially founded on the idea that any given scale is simply "a defined grouping of pitches from which we can create our melodic ideas." And perhaps equally important from a theory view, that all of our equal tempered melodic resources create closed loops of pitches. Once a particular groups pitches are determined, based on it's overall sound, color and interval structure, we can initially define and place it within either the major or minor tonality. Within each of the major and minor tonality, the various scales of equal temper are then presented in a gradually increasing level of theoretical and artistic complexity, both of which are determined by a particular groups' relative stability and ability to function as a tonal center.

Thinking that the 5 note pentatonic colors are among the oldest and most fundamental of the various groups of the pitches we enjoy, making these groups our origin, we can then evolve to the next level of complexity by adding in the tritone color to both the minor and major pentatonic tonal environments. Our resulting, tritone containing pentatonic scales now become our present day blues scale and major scale respectively. Our other important scales are then projected from this pentatonic / added tritone level, creating a hierarchy of melodic colors so to speak, all organically projected from the pentatonic colors. Here's a chart outlining our melodic resources following this theory of organization. Example 1.

Closure to the theory of scales within this text is provided by consistently presenting the idea that any of our melodic colors are simply reoccurring loops of pitches and are all found from within the chromatic grouping of pitches. And that from this chromatic perspective a learner may begin to develop their own sense of the organization our music system, have a basis to begin to theoretically explore the areas important to the art they wish to create, while eventually sensing potential avenues of thought and artistic direction as their needs, abilities and concepts evolve over the years.

To what musical colors are you drawn? Are the first musical colors you learned still your favorite ones or have you begun to expand from this initial core? Here is a chart spelling out the pitches of the more popular scales in vogue today by the intervals used to create them.

Scale syllabus / intervalic formulas. Here is a listing of the pitches and intervalic formula's for the various groups of pitches commonly used in the creation of the many styles of American music, listed in the format discussed above. Example 2.

Why is having a theory of scales potentially important for the creative musician? Perhaps in that it simply allows for another way to connect with the timeless aspects of our musical heritage. That in the more complex of the American musical styles, theory knowledge can help get the melody of the music under your fingers, thus providing a resource of musical ideas for improvisation, two essential components of performing our American music. Theory knowledge can also create a vocabulary of common musical terms, which not only potentially facilitates the sharing of our art with others but also translates into musical sounds which globally know no bounds? And for some folks, study of the theories of music, or any subject for that matter, is simply pure joy. Can I prompt you here to examine your scale theory?

Are the older scales potential "time machines" to take us back to their origins? Can we recreate the passion of ancient melodies today? Is this what happens when we jam in the pentatonic colors? Search for the ancient powerlines of pitch and the rhythmic dawn of mankind? Are the lesser used scales within our system of music today simply more advanced for our present level of understanding and creative abilities, providing potential resources for future, more evolved generations of artists? Are these scales potentially new avenues of exploration for the evolving creative musician of today?

Where to next?

review new ideas

"Anything can be anywhere." Cadillac Jack