Relative and parallel scales are often mistaken for each other, as they’re pretty similar- sounding. 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. 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. 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.

Understanding music keys and scales pdf