Parallel scales, meanwhile, are two scales - one major, one minor – that start on the same note, such as C major and C minor. For example, C major, which contains the notes C D E F G A and B, and A minor, which contains A B C D E F and G. Well, relative scales are two scales - one major, the other minor - that contain the same notes but start on different notes. Relative and parallel scales are often mistaken for each other, as they’re pretty similar- sounding. When calculated in equal temperament with a reference of. It is the second semitone in the French solfège and is known there as do dièse.In some European notations, it is known as Cis.In equal temperament it is also enharmonic with B (B-double sharp/Hisis). With a formula of 2-2-2-2-2-2, wherever you start from on the keyboard, there are only two possible versions, and they work really well over augmented and dominant 7b5 chords. C (C-sharp) is a musical note lying a chromatic semitone above C and a diatonic semitone below D.C-sharp is thus enharmonic to D. Whole tone scales are hexatonic, which means that they contain six notes, all separated by intervals of a whole tone - hence you get the name. Scoring a dream sequence? Use a whole tone scale! The whole tone scale is a bit special as there are only two possible versions of it, depending on whether you’re starting on a white or a black key. Rather than spending hours practising them until muscle memory takes over, you can remember simple number sequences - known as intervallic formulae - to help you work scales out on the fly, based on counting the number of semitones between each note in the scale.įor example, the formula for a major scale is 2-2-1-2-2-2-1, so to play, say, D major, you’d start on D, move up two semitones to E, then another two to F#, then one semitone up to G, two more to A and so on, following the formula to complete the scale. The notes of the C minor natural scale are: C D Eb F G Ab Bb Chords in natural minor keys follow the pattern, minor diminished major minor minor major major. Play a C major scale, then a C# major one, and you’ll get the idea. The latter only have to memorise one shape for a scale, then move that shape up the neck to play it in a different key, whereas on the keyboard, playing the same scale up just one semitone requires having to remember a completely different pattern of keys. Keyboard players are at a disadvantage to guitarists when it comes to memorising scales.
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