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LinkedMusicians Quick Guides are designed to get you up to speed quickly on key concepts in music and recording production and post-production.
In Western music, there are 12 major scales and 12 minor scales, each starting on a different note. Here are the notes for each scale:
Notes in the Major Scales:
1. C Major: C D E F G A B
2. G Major: G A B C D E F#
3. D Major: D E F# G A B C#
4. A Major: A B C# D E F# G#
5. E Major: E F# G# A B C# D#
6. B Major: B C# D# E F# G# A#
7. F# Major: F# G# A# B C# D# E#
8. C# Major: C# D# E# F# G# A# B#
9. F Major: F G A Bb C D E
10. Bb Major: Bb C D Eb F G A
11. Eb Major: Eb F G Ab Bb C D
12. Ab Major: Ab Bb C Db Eb F G
Notes in Natural Minor Scales:
1. A Minor: A B C D E F G
2. E Minor: E F# G A B C D
3. B Minor: B C# D E F# G A
4. F# Minor: F# G# A B C# D E
5. C# Minor: C# D# E F# G# A B
6. G# Minor: G# A# B C# D# E F#
7. D# Minor: D# E# F# G# A# B C#
8. A# Minor: A# B# C# D# E# F# G#
9. D Minor: D E F G A Bb C
10. G Minor: G A Bb C D Eb F
11. C Minor: C D Eb F G Ab Bb
12. F Minor: F G Ab Bb C Db Eb
Here are the notes for the harmonic and melodic minor scales:
Notes in the Harmonic Minor Scales:
1. A Harmonic Minor: A B C D E F G#
2. E Harmonic Minor: E F# G A B C D#
3. B Harmonic Minor: B C# D E F# G A#
4. F# Harmonic Minor: F# G# A B C# D E#
5. C# Harmonic Minor: C# D# E F# G# A B#
6. G# Harmonic Minor: G# A# B C# D# E F##
7. D# Harmonic Minor: D# E# F# G# A# B C##
8. A# Harmonic Minor: A# B# C# D# E# F# G##
9. D Harmonic Minor: D E F G A Bb C#
10. G Harmonic Minor: G A Bb C D Eb F#
11. C Harmonic Minor: C D Eb F G Ab B
12. F Harmonic Minor: F G Ab Bb C Db E
Notes in the Melodic Minor Scales (ascending):
1. A Melodic Minor: A B C D E F# G#
2. E Melodic Minor: E F# G A B C# D#
3. B Melodic Minor: B C# D E F# G# A#
4. F# Melodic Minor: F# G# A B C# D# E#
5. C# Melodic Minor: C# D# E F# G# A# B#
6. G# Melodic Minor: G# A# B C# D# E# F##
7. D# Melodic Minor: D# E# F# G# A# B# C##
8. A# Melodic Minor: A# B# C# D# E# F## G##
9. D Melodic Minor: D E F G A B C#
10. G Melodic Minor: G A Bb C D E F#
11. C Melodic Minor: C D Eb F G A B
12. F Melodic Minor: F G Ab Bb C D E
Note that the melodic minor scale typically descends using the natural minor scale.
How the melodic minor scale differs when ascending and descending
The melodic minor scale differs in its ascending and descending forms:
Ascending:
– Uses the formula: 1 2 ♭3 4 5 6 7
– Raises the 6th and 7th scale degrees compared to the natural minor scale
Descending:
– Uses the same notes as the natural minor scale: 1 2 ♭3 4 5 ♭6 ♭7
– Lowers the 6th and 7th scale degrees back to their natural minor form
For example, in A melodic minor:
– Ascending: A B C D E F# G#
– Descending: A G F E D C B A
This difference originated to solve melodic issues in classical composition:
1. The raised 6th and 7th when ascending provide smoother voice leading to the tonic[2].
2. The natural 6th and 7th when descending avoid the augmented second interval found in the harmonic minor scale.
In jazz and modern contexts, the ascending form is often used both up and down[5]. However, in traditional classical theory, the scale changes depending on direction to balance melodic smoothness with the minor tonality.
Modes
In Western music, there are seven traditional modes, each with its unique pattern of intervals. Here are the notes for each mode when starting on the note C:
Ionian (Major Scale)
– Notes: C D E F G A B C
– Intervals: Whole, Whole, Half, Whole, Whole, Whole, Half
Dorian
– Notes: D E F G A B C D
– Intervals: Whole, Half, Whole, Whole, Whole, Half, Whole
Phrygian
– Notes: E F G A B C D E
– Intervals: Half, Whole, Whole, Whole, Half, Whole, Whole
Lydian
– Notes: F G A B C D E F
– Intervals: Whole, Whole, Whole, Half, Whole, Whole, Half
Mixolydian
– Notes: G A B C D E F G
– Intervals: Whole, Whole, Half, Whole, Whole, Half, Whole
Aeolian (Natural Minor Scale)
– Notes: A B C D E F G A
– Intervals: Whole, Half, Whole, Whole, Half, Whole, Whole
Locrian
-Notes: B C D E F G A B
– Intervals: Half, Whole, Whole, Half, Whole, Whole, Whole
Each mode has a distinct sound and character due to its unique sequence of intervals
This is a great addition to your LinkedMusicians Quick Guide. Both the Blues and Diminished scales are essential for jazz, rock, and fusion contexts.
To keep with your existing format, I have drafted the notes for the Blues Scale (hexatonic) and the two primary versions of the Diminished Scale (octatonic).
What are the notes in the Blues scale?
The Blues scale is a six-note scale (hexatonic) derived from the pentatonic minor scale, with the addition of a “blue note”—the flatted fifth.
Notes in the Blues Scales:
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C Blues: C Eb F F# G Bb
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G Blues: G Bb C C# D F
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D Blues: D F G G# A C
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A Blues: A C D D# E G
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E Blues: E G A A# B D
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B Blues: B D E E# F# A
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F# Blues: F# A B B# C# E
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C# Blues: C# E F# G G# B
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F Blues: F Ab Bb B C Eb
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Bb Blues: Bb Db Eb E F Ab
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Eb Blues: Eb Gb Ab A Bb Db
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Ab Blues: Ab Cb Db D Eb Gb
Quick Tip: The formula for the Blues scale is: 1 – b3 – 4 – #4/b5 – 5 – b7. That middle chromatic cluster (4, #4, 5) is what gives the scale its signature “gritty” tension.
What are the notes in the Diminished scale?
The Diminished scale is an eight-note (octatonic) scale that follows a symmetrical pattern of intervals. There are two main variations used in Western music: the Whole-Half (often used over diminished chords) and the Half-Whole (often used over dominant 7th chords).
Notes in the Whole-Half Diminished Scales:
Pattern: Whole, Half, Whole, Half, Whole, Half, Whole, Half
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C Diminished (W-H): C D Eb F Gb Ab A B
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C# Diminished (W-H): C# D# E F# G A Bb C
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D Diminished (W-H): D E F G Ab Bb B C#
(Note: Because this scale is symmetrical, there are only three unique diminished scales; for example, the notes in C diminished are the same as those in Eb, Gb, and A diminished.)
Notes in the Half-Whole Diminished Scales:
Pattern: Half, Whole, Half, Whole, Half, Whole, Half, Whole
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C Diminished (H-W): C Db Eb E F# G A Bb
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C# Diminished (H-W): C# D E F G Ab Bb B
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D Diminished (H-W): D Eb F Gb Ab A B C
How do these scales differ in usage?
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The Blues Scale: Widely used in blues, rock, and jazz to create a soulful, expressive sound. It works exceptionally well over both minor and dominant 7th chords.
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The Diminished Scale: Primarily used in jazz and classical music to create “outside” tension.
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The Whole-Half version is the standard choice for diminished 7th chords ($dim^7$).
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The Half-Whole version is a favorite for altered dominant chords ($7b9$, $7#11$) because it includes both the major third and the flatted seventh of a dominant chord, along with several “tension” tones.
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| Scale Type | Interval Formula (Degrees) | Characteristic Sound |
| Major (Ionian) | 1 2 3 4 5 6 7 | Bright, stable, “happy” |
| Natural Minor | 1 2 ♭3 4 5 ♭6 ♭7 | Dark, melancholic |
| Harmonic Minor | 1 2 ♭3 4 5 ♭6 7 | Exotic, “Middle Eastern” flair |
| Melodic Minor | 1 2 ♭3 4 5 6 7 | Sophisticated, jazz-like |
| Blues Scale | 1 ♭3 4 ♭5 5 ♭7 | Soulful, gritty, “blue” |
| Diminished (W-H) | 1 2 ♭3 4 ♭5 ♭6 6 7 | Symmetrical, tense, mysterious |
| Diminished (H-W) | 1 ♭2 ♭3 3 ♯4 5 6 ♭7 | Dominant tension, “outside” jazz sound |