Piano scales and modes

The major-scale interval formula is whole–whole–half–whole–whole–whole–half (W–W–H–W–W–W–H). Starting that formula on G requires F♯, giving G–A–B–C–D–E–F♯–G. The pattern stays the same even when some note names change.

Don't rush the scale. Hold the last note for a moment and notice how a phrase can feel finished when it settles on its tonic.

Tonic

The note that feels like home.

Major formula

W–W–H–W–W–W–H.

Key

The home note and the collection of notes that organise the music around it.

Why use natural minor? It gives you a clear minor-key centre and a familiar vocabulary for melodies, chords and songs. Minor isn't a rule for writing sad music; tempo, rhythm and harmony also shape how it feels.

A minor is the relative minor of C major because they share notes. A major is its parallel major because it shares A as tonic. Harmonic and melodic minor make particular changes to natural minor, especially for stronger resolutions and smoother melodies.

Why use it? Raising the seventh gives minor-key music a strong dominant chord: E7 contains G♯ and can resolve convincingly to Am. It is a way to strengthen harmony, not a requirement that every minor melody use G♯ all the time.

The jump from F to G♯ is an augmented second, which gives this scale a distinctive melodic sound. Try playing G and G♯ in turn above an A-minor chord, then resolve each to A. Listen rather than memorising the label first.

A harmonic minor

A–B–C–D–E–F–G♯–A.

What changes

The seventh is raised from G to G♯.

Where it helps

A stronger E7 → Am resolution.

In traditional classical teaching, the descending form often returns to natural minor: A–G–F–E–D–C–B–A. In jazz, melodic minor commonly means the raised-sixth, raised-seventh form in both directions. The context matters.

Why use it? It offers a different contour for melodies over minor harmony and, in jazz, opens up new harmonic possibilities. You do not need to memorise jazz melodic-minor modes yet: start by hearing F♯ and G♯ lead towards A.

A melodic minor ascending

A–B–C–D–E–F♯–G♯–A.

Classical descending

Often returns to natural minor: A–G–F–E–D–C–B–A.

Jazz convention

Often uses the ascending form both ways.

A minor pentatonic is A–C–D–E–G. It uses the same five piano keys as C major pentatonic, but A becomes home. Neither scale is guaranteed to sound good over every chord: let the accompaniment and musical phrase guide the notes you choose.

Why use pentatonics? They are easy to explore by ear and appear throughout folk, pop, rock and many other musical traditions. Spend more time making a small phrase answer itself than racing up and down the five notes.

C major pentatonic

C–D–E–G–A.

A minor pentatonic

A–C–D–E–G.

Practice idea

Make a two-note question and answer it with a three-note phrase.

The major blues scale is different: in C it is C–D–E♭–E–G–A, a major-pentatonic shape with an added flattened third. Both are useful sounds, but a blues scale alone does not create a blues performance.

Why use blues notes? They give melodic phrases expressive tension, especially against suitable chords. Timing, accents, repetition, call-and-response and the underlying groove are just as important. Use the notes as invitations to phrase, not a recipe.

A minor blues

A–C–D–E♭–E–G.

C major blues

C–D–E♭–E–G–A.

Blue note

An expressive note whose tension depends on the chord and phrase.

Dorian is minor-sounding with a natural sixth: D Dorian contains B natural, whereas D natural minor contains B♭. Lydian has a raised fourth, and Mixolydian has a lowered seventh relative to major. The names describe specific interval formulas, not vague feelings.

To really hear a mode, repeat its tonic or play a suitable chord underneath. Running the white notes from D to D is useful practice, but it doesn't by itself establish D Dorian as the musical centre.

C Ionian

C–D–E–F–G–A–B. The major mode.

D Dorian

D–E–F–G–A–B–C. Minor third, natural sixth.

E Phrygian

E–F–G–A–B–C–D. Minor with a flattened second.

F Lydian

F–G–A–B–C–D–E. Major with a raised fourth.

G Mixolydian

G–A–B–C–D–E–F. Major with a lowered seventh.

A Aeolian

A–B–C–D–E–F–G. The natural minor mode.

B Locrian

B–C–D–E–F–G–A. Flattened second and diminished fifth; an unstable tonic.