Changes

R {{M2 |M2}} {{M3 |M3}} {{P4|P4 }} {{P5|P5 }} {{M6 |M6}} {{M7|M7}}

The major scale is defined by the whole whole half whole whole whole half (w w h w w w h) pattern pa{{tt|tt}}ern of the distribution of its notes across one octave. It has a strong tonality pulling towards the tonic note.

R {{M2 |M2}} {{Mn3|m3 }} {{P4 |P4}} {{P5|P5 }} {{Mn6|m6 }} {{Mn7|m7}}

Natural minor is a relative of the major scale (the Aeolian mode), consisting of the same notes but using a different note as the tonic. Its whole-half pattern pa{{tt|tt}}ern is (w h w w h w w). Its relative major's tonic note is the 3rd note of the scale. Reflexively, its tonic note is the 6th note of its relative major scale.

R {{M2 |M2}} {{Mn3|m3 }} {{P4|P4 }} {{P5|P5 }} {{Mn6|m6 }} {{M7|M7}}

Harmonic minor is a natural minor scale with a sharped 7th note. This makes the 7th note the leading tone, giving stronger tonality to the scale. In particular, it gives stronger tension to the Dominant (V) chord to resolve to the Tonic (i). Its whole-half pattern pa{{tt|tt}}ern is (w h w w h w+h h).

R {{M2 |M2}} {{M3 |M3}} {{P4 |P4}} {{P5 |P5}} {{Mn6|m6 }} {{M7|M7}}

Harmonic major is the Harmonic Minor scale with a sharped 3rd note, or the Major scale with a flatted fla{{tt|tt}}ed 6th.

R {{M2 |M2}} {{Mn3|m3 }} {{P4 |P4}} {{P5 |P5}} {{M6 |M6}} {{M7|M7}}

R {{M2 |M2}} {{Mn3|m3 }} {{P4 |P4}} {{P5|P5 }} {{Mn6|m6 }} {{Mn7|m7}}

Melodic minor has different patterns pa{{tt|tt}}erns when ascending vs. descending. Descending it is identical to the natural minor scale; however, ascending it is the natural minor scale with sharped 6th ({{M6|M6}}) and 7th ({{M7|M7}}) notes. This gives the ascending scale a whole-half pattern pa{{tt|tt}}ern of (w h w w w w h), which contains the leading tone but no 1.5 steps like in the harmonic minor scale.

R {{M2 |M2}} {{Mn3|m3 }} {{P4 |P4}} {{P5 |P5}} {{M6 |M6}} {{M7|M7}}

R {{Mn2|m2 }} {{M3 |M3}} {{P4|P4 }} {{P5|P5 }} {{Mn6|m6 }} {{M7|M7}}

This is called the double harmonic scale due to its dual harmonic tetrachords (h + h). It has a very exotic feel due to the augmented 2nds, as well as containing both the {{Mn2|m2 }} and {{M7 |M7}} notes around the root. It is most easily arrived at by flatting fla{{tt|tt}}ing the 2nd of the Harmonic Major scale. It is also a mode of [[#Hungarian Minor]].

R {{M2 |M2}} {{Mn3|m3 }} a4 {{P5 |P5}} {{Mn6|m6 }} {{M7|M7}}

R {{M2 |M2}} {{M3|M3 }} {{P5|P5 }} {{M6|M6}}

The major pentatonic scale is the same as the major scale, but without the 4th or 7th notes. This drops all half steps from the whole-half pattern pa{{tt|tt}}ern of the scale - (w w w+h w w+h). We also lose the leading tone. This reduces the tonality of the scale.

R {{Mn3|m3 }} {{P4 |P4}} {{P5|P5 }} {{Mn7|m7}}

The minor pentatonic scale is the same as the natural minor scale, but without the 2nd or 6th notes. This drops all half steps from the whole-half pattern pa{{tt|tt}}ern of the scale - (w+h w w w+h w). This reduces the tonality of the scale.

R {{M2 |M2}} {{P4|P4 }} {{P5|P5 }} {{M6|M6}}

This scale is very similar to the major pentatonic scale; however, it uses a {{P4 |P4}} instead of {{M3|M3}}. It does have a slightly Eastern feel to it, but it fits in nicely with Western music. It is actually a mode of the common minor and major pentatonic scales.

R {{Mn2|m2 }} {{P4 |P4}} {{P5|P5 }} {{Mn6|m6}}

Take the above scale and flat the 2nd and 6th. It has a similar feel to the Phrygian mode, containing a subset of its notes. Yet the {{M3 |M3}} jumps really emphasize an exotic feel.

R {{M2 |M2}} {{P4 |P4}} {{P5|P5 }} {{Mn7|m7}}

R {{Mn3|m3 }} {{P4 |P4}} {{Mn6|m6 }} {{Mn7|m7}}

R {{Mn3|m3 }} {{P4 |P4}} d5 {{P5|P5 }} {{Mn7|m7}}

The blues scale is the same as the minor pentatonic scale, plus the augmented 4th or diminished 5th. It is derived from using the blue notes (notes a half-step below) on the 3rd, 5th, and 7th of the major scale. While it takes a distinctly minor appearance, the {{Mn3|m3 }} and {{Mn7|m7 }} are often bent up to near the {{M3 |M3}} and {{M7|M7}}. Most blues songs are set against a major key. Its whole-half pattern pa{{tt|tt}}ern is (w+h w h h w+h w).

R {{M2 |M2}} {{M3|M3 }} a4 a5 a6 = R {{M2|M2 }} {{M3|M3 }} d5 {{Mn6|m6 }} {{Mn7|m7}}

! Pattern Pa{{tt|tt}}ern 1 !! Pattern Pa{{tt|tt}}ern 2

''* These patterns pa{{tt|tt}}erns will work with any root, as the whole tone scale is fully symmetric.''

R {{Mn3|m3 }} {{M3 |M3}} a5 {{Mn6|m6 }} {{M7|M7}}

! Pattern Pa{{tt|tt}}ern 1 !! Pattern Pa{{tt|tt}}ern 2

''* This scale is symmetric when dividing the octave into thirds. Every other note can be the root, and the scale pattern pa{{tt|tt}}ern is identical.''

R {{M2 |M2}} {{M3|M3 }} {{tt|tt }} {{M6|M6 }} {{Mn7|m7}}

R {{Mn2|m2 }} {{Mn3|m3 }} a4 {{P5 |P5}} {{Mn7|m7}}

R {{M2 |M2}} {{Mn3|m3 }} {{P4|P4 }} d5 {{Mn6|m6 }} {{M6|M6 }} {{M7|M7}}

! Pattern Pa{{tt|tt}}ern 1 !! Pattern Pa{{tt|tt}}ern 2 !! 3 nps

''* This scale is symmetric when dividing the octave into halves or quarters. Every other note can be the root and produce the same patternpa{{tt|tt}}ern.''

R {{Mn2|m2 }} {{Mn3|m3 }} d4 d5 {{P5 |P5}} {{M6|M6 }} {{Mn7|m7}}

! Pattern Pa{{tt|tt}}ern 1 !! Pattern Pa{{tt|tt}}ern 2 !! 3 nps

''* This scale is symmetric when dividing the octave into halves or quarters. Every other note can be the root and produce the same patternpa{{tt|tt}}ern.''

R {{Mn2|m2 }} {{M2 |M2}} {{Mn3|m3 }} {{M3 |M3}} {{P4|P4 }} d5 {{P5|P5 }} {{Mn6|m6 }} {{M6 |M6}} {{Mn7|m7 }} {{M7|M7}}

The chromatic scale consists of every note in the 12-tone scale, with its whole-half pattern pa{{tt|tt}}ern consisting entirely of half steps. It has no tonality - every note in the scale has as much tension as any other note.

''* This scale is fully symmetric - any note can be the tonic and produce the same fingering patternpa{{tt|tt}}ern.''