Woke up this mornin' with the pillow on my head twisted up sheets, had me trapped in the bed Just kept thinkin' 'bout that music theory blog poundin' in my brain - lost in a fog Kept repeatin' that pattern, again and again would it ever stop? I didn't know when! Whole-whole-half, whole-whole-whole-half it's all I could udder, like a momma and her calf Whole-whole-half, whole-whole-whole-half made no sense, just made me want to laugh! "It's a pattern of spaces, memorize it" says Al I just wanted to tell him to go straight to H..l Then all of a sudden, I said it once more that pattern of spaces unlocked the door! My mind was clear, it felt so free I could write all the scales in any key! Whole-whole-half, whole-whole-whole-half don't need no stinkin' music staff! Whole-whole-half, whole-whole-whole-half now I love those spaces, but that Al-just makes me laugh!
This song is dedicated to my good friend Jimmy – who inspired me to write it because I may have shifted in too high a gear too soon.
So, below you will find step one for writing diatonic scales in all 12 keys all completed for you. They are organized and separated into two groups: sharp keys first, then flat keys.
Remember, all scales in music have either sharps or flats – never both in the same key. The key of C has no sharps or flats.
I also indicated how many sharps or flats are required to correctly fit the diatonic major scale space pattern, the number you see in (1). Key of C is not included, since it requires no sharps or flats. As you do this, you will also notice the sharps and flats are always assigned in the same order, i.e. if the key has one sharp, it will be F#, if it has two sharps, they will be F#, C#. etc. Just to make this even easier, here is the order of sharps and flats:
Order of sharps: F# C# G# D# A# E# B#
Order of flats: Bb Eb Ab Db Gb Cb Fb
Have fun filling in the # and b below:
Sharp keys:
| G (1): | G | A | B | C | D | E | F | G |
| D (2): | D | E | F | G | A | B | C | D |
| A (3): | A | B | C | D | E | F | G | A |
| E (4): | E | F | G | A | B | C | D | E |
| B (5): | B | C | D | E | F | G | A | B |
| F# (6): | F# | G | A | B | C | D | E | F# |
| C# (7): | C# | D | E | F | G | A | B | C# |
Flat keys:
| F (1): | F | G | A | B | C | D | E | F |
| Bb (2): | Bb | C | D | E | F | G | A | Bb |
| Eb (3): | Eb | F | G | A | B | C | D | Eb |
| Ab (4): | Ab | B | C | D | E | F | G | Ab |
| Db (5): | Db | E | F | G | A | B | C | Db |
| Gb (6): | Gb | A | B | C | D | E | F | Gb |
Memory tip for the assignment order of # and b:
Flats: B E A D G C F (the word bead, then G C F)
Sharps: reverse of flats: F C G D A E B
If you completed the chart above and got them all right, you are already ahead of about 90% of musicians I know. Great job!
I know this wasn’t easy, but believe me, the reason I start with this and keep pounding it in is because it will be the foundation of all music theory as we move forward into advanced concepts. Hang in there, once we get to chords, knowledge of these scales is going to really pay off.
Until next time – I remain
Musically yours,
Al
by Al Dinardi
05 Feb 2010 at 07:41
Be sure to read the latest post All Diatonic Major Scales Exposed – that should clear it all up. If you can do just the first four sharp keys, and the first four flat keys – you’re there.
Hang in there!
Al
by Jimmy
04 Feb 2010 at 22:42
Well I’m sittin here readin this lengthy blog
Hoping and praying I’ll come outta the fog!
Please God Please let this stuff make sense
Open my mind……… fingers and frets!
Give me the time to read and understand
So I can glorify You better than I can!!
Thanks Al!
by Doug Ross
01 Feb 2010 at 12:01
I agree with Dave. Now I don’t feel as bad. The second scale I tried to write out was A# then I chose D# at random. I just knew for sure at that point I was lost. I’m keepin on keepin on however. Take it away Al!
by Al Dinardi
30 Jan 2010 at 22:30
Thanks Dave, probably too technical for this stage. Key of G# has an F##. Key of D# has F## and C##. The key of A# has all three, F##, C##, and G##. I am going to revise this post and eliminate those three keys for now – we’ll get to those later.
I really appreciate having you here – that was great feedback – keep it coming!
Al
by Dave Blees
30 Jan 2010 at 22:06
Now you are really messing with us, Al… On you chart above you include the keys of D# and A#, but omit the equally rare Cb or Fb – none of which I’ve ever seen used by any but the most esoteric and purposely obtuse composers.
In the key of A#, for example, would you not have to use C, F & G DOUBLE-sharps? (##) Yikes! Come to think of it, I’m pretty sure I struggled with that in a Chopin piece once long ago…