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5 Questions with Guitarists | Best Guitarists of Nepal Guitarists of Nepal | 5 Questions with Guitarist | Manoj Kumar KC & more They are the best Guitarists of Nepal. They are Sarad Shrestha, Deepak Moktan, Manoj...

Building the Major Scale!!!!!

A movement up two blocks is called a whole step. A movement up just one block is called a half step. We can see that this C major scale is formed by starting on the root of the scale, C, and then moving through the chromatic scale notes: whole step, whole step, half step, whole step, whole step, whole step, half step. This pattern is so fundamental that it will be the basis of all other musical concepts that we study. Learn to play the scale, name the notes, and memorize the formula of steps needed to create this scale.

The C major scale, and this pattern for constructing scales, must both be accepted without question in order to study music. As you are beginning your study of how music works, now is not the time to ask, “but why C major? Why this pattern?” Since this pattern is used to comprehend all musical concepts to come, it must be taken for granted just as the sky is blue.

C major is not the only major scale there is. If we choose any note, such as E, and repeat this sequence of whole and half steps, we will have a new scale: the E Major scale. The notes will change. We must have sharps and flats: C major is the only major scale with no sharps or flats.

E
F
F♯
G
G♯
A
A♯
B
C
C♯
D
D♯
E
When we take one example of music, whether just a few notes, or an entire scale, or even a whole song, and move all of the notes up or down by an equal amount, the notes will all have the same relationship that they had before, but the song will sound higher or lower than before. This change is called transposing a song.

The circle of fifths is a sequence of pitches or key tonalities, represented as a circle, in which the next pitch (turning clockwise) is found seven semitones higher than the last. Musicians and composers use the circle of fifths to understand and describe the musical relationships among some selection of those pitches. The circle's design is helpful in composing and harmonizing melodies, building chords, and modulating to different keys within a composition.

At the top of the circle, the key of C Major has no sharps or flats. Starting from the apex and proceeding clockwise by ascending fifths, the key of G has one sharp, the key of D has 2 sharps, and so on. Similarly, proceeding counterclockwise from the apex by descending fifths, the key of F has one flat, the key of B♭ has 2 flats, and so on. At the bottom of the circle, the sharp and flat keys overlap, showing pairs of enharmonically equivalent key signatures.

Starting at any pitch, ascending by the interval of an equal tempered fifth, one passes all twelve tones clockwise, to return to the beginning pitch class. To pass the twelve tones counterclockwise, it is necessary to ascend by perfect fourths, rather than fifths.

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