Some people might say there are 12 major scales (one for each pitch in the 12-note equal temperament system-c c# d d# e f f# g g# a a# b). And some people might say there are 12 natural minor scales, 12 harmonic minor scales, and 12 melodic minor scales, each built of one of the 12 pitches. I disagree.
I’m not saying you can’t build all those scales. But what has always bothered me is that there is no difference in terms of interval sequences between C major and B major. Or no difference between A# melodic minor and E melodic minor. The only differentiation between the major, natural minor, harmonic minor, and melodic minor scales is the order of intervals. Every major scale has the same exact order of intervals. So, writing music in the key of G major sounds just like music in the key of G# major.
The major scales
Major scales have an intervallic sequence of whole step, whole step, half step, whole step, whole step, whole step, half step. Written as number of half steps: 2212221
C D E F G A B C
Every major scale has this pattern whether you start on C or D#! Only people with perfect pitch will hear the difference and even then, what does it matter? The feel of the music is the same in any major key.
Key matters when you are considering writing music for voice or specific instruments. For voice, which major key you choose will determine the range of the melody putting it either in a comfortable or out of reach range. Same goes for each instrument. Some keys are much easier to play on certain instruments. For example, on the violin the key of D major is much more comfortable than the key of B major.
If you are writing music that uses a major key, I believe you should always choose the most comfortable key for your instrumentation. Because in the end no one is going to hear that it is in G# major vs C major.
The minor scales
There are three minor scales: natural, harmonic, and melodic. Each of these scales have different interval sequences, therefore making them actually sound different.
The natural minor scale has an interval sequence of whole step, half step, whole step, whole step, half step, whole step, whole step. Or written as number of half steps: 2122122
A B C D E F G A
The harmonic minor scale has an interval sequence of whole step, half step, whole step, whole step, half step, minor 3rd, half step. Written as number of half steps: 2122131
A B C D E F G# A
Finally, the melodic minor scales is whole step, half step, whole step, whole step, whole step, half step (going up) and whole step, whole step, half step, whole step, whole step, half step, whole step (going down). Written as number of half steps: 2122221 (going up) 2212212 (going down)
A B C D E F# G# A (going up)
A G F E D C B A (going down)
Here’s a chart comparing the interval sequences of the four scales.
| Scale Name | Interval Sequence |
| Major | 2212221 |
| Natural Minor | 2122122 |
| Harmonic Minor | 2122131 |
| Melodic Minor | 2122221 – 2212212 |
Church Modes and Intervals
Modes have different interval sequences which in turn gives each of them a slightly different feel. Here are their interval sequences added to the chart. The way you create each mode is to start with C major (no sharps and no flats) and simply start the scale on each pitch.
- Ionian: C D E F G A B C
- Dorian: D E F G A B C D
- Phrygian: E F G A B C D E
- Lydian: F G A B C D E F
- Mixolydian: G A B C D E F G
- Aeolian: A B C D E F G A
- Locrian: B C D E F G A B
| Scale Name | Interval Sequence |
| Major (Ionian) | 2212221 |
| Natural Minor (Aeolian) | 2122122 |
| Harmonic Minor | 2122131 |
| Melodic Minor | 2122221 – 2212212 |
| Dorian | 2122212 |
| Phrygian | 1222122 |
| Lydian | 2221221 |
| Mixolydian | 2212212 |
| Locrian | 1221222 |
It doesn’t matter which pitch you start your scale on, it just matters what sequence of intervals you are using. Of course, there is absolutely no rule saying you must keep your music in one scale! Lots of music explores a major and a minor scale within one piece. But there is no limit to the number of scales you could combine to create your own music.
Diatonic Scales
All the scales I have highlighted in this article are diatonic, meaning they have seven pitches and consist of five whole steps and two half steps. There are many more scales that have fewer or more pitches in the scale. Also, the scales in this article only use half and whole steps – many scales use other intervals. Here is my article on 7 Music Scales Beyond Major & Minor You Should Know – Global Music Theory
The consequences of equal temperament
The reason the key of B major sounds like the key of E major is due to equal temperament. Equal temperament is where the half-step interval is always the same (equal) and there are twelve half-steps in each octave. This uniformity in half-steps is what makes the starting pitch of the scale unimportant. There are many other tuning systems, such as Just Tuning, that do create different sounding scales depending on the starting pitch.
Here is a great video showing a few different tunings. I really like the detail he goes into about the differences between each tuning.
These different tuning systems gave the various keys a variety of “sonic flavors” which is why many composers were so careful with what key they wrote it. Many of the classical period and earlier works are in keys that work well in meantone temperament and well temperament. On top of that, the composers knew and exploited the nuances of each key and scale.
Tuning is a keyboard problem
In many ways, the whole issue of complex tunings is more of a fretted and keyboard issue. Fretless instruments like the violin do not naturally play in equal temperament. In order for a violinist to play in equal temperament, they would likely need a keyboard instrument to tune to (though after years of practice and muscle memory, violinists can do it). The primary reason we have equal temperament is because of the dominance of keyboard instruments. Since equal half steps are not a natural consequence of the overtone series, it can be very difficult to intuitively hear and play equal half steps. If a solo violinist always practices a piece alone, then they are most likely tuning to pitches that resonant with the music and that particular violin. But then when they come to play with their accompanist, they will find they have to make micro adjustments to their intonation throughout the piece in order to be in tune with the piano. This is why string quartets and choirs’ sounds can be so powerful, they’re not tied to equal temperament.
Fretless instruments and voices are to a great extent not tied to any tuning. These instruments and voices can adjust by micro tones to fit the context of the music and their fellow musicians – a keyboard or guitar cannot. However, very attentive guitarists will tune slightly differently given the key of the music.
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