Timeistight did such a good job with the scales that it prompted me to share something I’ve been working on – Scales by intervals. It’s easier (for myself) to visualize and learn scale intervals in this fashion so I can more readily pick out similarities and differences. Below is a picture of a spreadsheet. You can download it. If anyone wants the actual Excel spreadsheet to add to it or modify it, drop me a note at the email in my profile. Perhaps this will help somebody like it does me.
As an example: What's the difference between Natural Minor and Harmonic Minor? Answer: The 7b (flat 7th) is raised a 1/2 step in the Harmonic Minor scale.
the cycle (or circle) of fifths aids in our understanding of scales and the chords derived from same.
The 'C' major scale has no accidentals--sharps or flats. Its fifth--the 'G'--takes one sharp in order to maintain the scalar relationship of minor second and major second intervals (as demonstrated in Noodles' great chart).
That is, music in the West (oriental music is another issue) determines that the 'correct' note relationship is a whole step between all notes save 3 to 4, and 7 to 8--each of which has a half step. This occurs between 'E' to 'F' and 'B' to 'C'. The 'G' scale, then, takes one sharp--the 'F'--to establish the minor second interval between the 7th and 8th (the octave) notes.
This scalar motion continues, counterclockwise, with each successive key requiring one modification to maintain scalar integrity--on the left side of the cycle by adding one sharp.
The enharmonic of F#/Gb at the very bottom adds the 'flat' accidental: F# uses 6 sharps but its enharmonic Gb uses 6 flats. Continuing along, each key signature then sheds one flat--again, to maintain the 3 to 4 and 7 to 8 minor second interval pattern.
There exists, then, a symmetry to this visual aid, with, e.g., the 'F' having one flat--the 'B' or 4th note of the 'F' scale--(as its opposite neighbor, the 'G' has one sharp). The flat serves to 'move' the 'B' away from the 'C' even as it moves it closer to the 'A', establishing the 1/2 step (minor second) interval pattern.
--or: the more things change, the more they remain the same...
Interestingly, a groovy cat named George Russell determined that the Lydian modal pattern is aesthetically preferred to the Ionian, or 'C' major scale pattern. For example--and, beginning on 'F'--the 'Bb' of that major scale (or 4th note) sheds its accidental and establishes the b5 in that scale.
This then suggests (to the alert composer/improviser) the tritone substitution for the traditional dominant chord: in the key of 'C' the V7 chord is replaced by the Db7 chord--bII7--three whole tones away from the root, G.
the Cycle of Tritones (6 instances of b5 pairs)...
The seminal modal album, Kind of Blue, made prodigious use of the ideas Russell set forth, which influenced the melodic-based composition and improvisation--versus chord-saturated composition and improvisation. It helped to establish a new framework upon which to compose and improvise...
Here is a good (albeit too brief) demonstration of the modally-based blues improvisation possible on the harp--"All Blues", from Davis' album:
For some reason i thought kind of blue used Dorian mode. Maybe I'm just thinking So What. Interesting to see anticlockwise circle. I've always visualised clockwise. ----------
I mentioned the Lydian as it remains the focal point of Russell's text: The Lydian Chromatic Concept of Tonal Organization.
"The work postulates that all music is based on the tonal gravity of the Lydian mode. Russell believed that dominant function was the driving force behind all harmonic motion.
"[He] focuses on the Lydian mode because it can be built with fifths. For instance, to construct a C lydian scale one could list the first seven tones on the circle of fifths starting with C, the desired tonic. This process would yield C, G, D, A, E, B, F#. If these tones are voiced in the space of an octave, they form the Lydian mode (C, D, E, F#, G, A, B).
"Russell posits that tonal gravity emanated from the first seven tones of the Lydian mode. As the player ventures further from the Lydian tonic however (and further up the circle of fifths), the tonal gravity shifts. For example, if notes further up the circle of fifths (e.g. b3) are used, the tonal gravity is probably shifting" [Wiki].
Last Edited by on Aug 02, 2012 1:55 PM
Although choosing mnemonics are, of necessity, a highly subjective matter, here is one aid I've tried:
Reading ccw from the 'B' key signature, we find the letters, B,E,A,D,G and C. This happens to be the same letter sequence of flats introduced into the keys on the other side, to wit: the 'F' gets 1 flat: the B; the 'Bb' gets 2 flats: the B and E, etc., all the way around to the 'Gb'.
Think of a bead on a string, add a 'G' 'C' mnemonic: "bead goes circular"? "bead gets circle"?
Regarding memorizing the sequence of sharps introduced from 'C', I memorized the notes: F, C, G, D, A, E.
G, D, A and E are the bottom 4 notes of the six-string guitar. I luck out recalling the 'F C' tag...plus the 'G-E' rhyme is user friendly...
When presented in clockwise format it is the Circle of Fifths?
http://en.wikipedia.org/wiki/Circle_of_fifths
Also, see "Structure and Use" in the above wiki: "Reversing the direction of the circle of fifths gives the circle of fourths. Typically the "circle of fifths" is used in the analysis of classical music, whereas the "circle of fourths" is used in the analysis of Jazz music, but this distinction is not exclusive. "
I have used the Circle of Fifths for years with C at the top, going by fifths clockwise (C, G, D, A, E, etc.). I learned it from a guitar player in the mid '70s, and began laying my harps out in this order. Each step clockwise adds a sharp, counter clockwise from C adds a flat to a major scale starting on that note as the tonic.
Position playing is simply visualized with harps arranged in this layout. Chord structure for I-IV-V songs is laid out, too! (tonic in the middle, fourth to the left, fifth to the right of whatever tonic is chosen)
I never had to develop a mnemonic for the Circle of Fifths. I just learned it by using my harps laid out this way.
I love a good graph. Way more interesting than that massage video with 266m hits. Thanks Noodles. Now I have even fewer excuses for my ignorance about scales....
That's an interesting idea Doug. Laying the harps out that way would be a constant reminder. I use the old "father Charles goes down and engages battle" to get me clockwise and yes, anticlockwise is 4ths. Which is also very useful but not hard to find the 4th if you know the 5th already hey? But that chart above goes anticlockwise in 5ths I thought. (I can't actually see it just now) ----------
I lay my harps out in Circle of Fifths order sometimes. I should do it more often.
The circle of fifths is also useful for figuring out what flats or sharps are in a key. If you put the C on top with no sharps or flats you can add sharps 'Father Charles Goes Down And Ends Battle'. You can add flats in the reverse order, 'Battle Ends And Down Goes Charles Father'. In a pinch, if you remember just one relative minor you can use the circle to figure out all the rest.
It really is very useful as you try to learn other theory.
