WHY MASTERING THESE 12 MAJOR SCALES IS THE SECRET TO JAZZ SUCCESS

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Major scales contain almost everything you need to understand harmony, melody, and the basics of jazz improvisation. This series of whole and half steps contains the intervallic and chordal relationships found in many jazz standards.

Mastering the major scale makes it much easier to memorize chord progressions and create moving, musical melodies when improvising. In this article, we’ll explore all twelve major scales in depth.

By the end of this article, you will have three different ways to conceptualize the major scale and will learn how the major scale is used to construct chords and chord progressions!

What is the major scale? It’s everything!

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12 Major Scales (All 12 Keys)

Major Scales: Major and minor keys in the circle of fifths

Source: https://en.wikipedia.org/wiki/Circle_of_fifths#/media/File:Circle_of_fifths_deluxe_4.svg

Here are all twelve major scales (though there are fifteen if you count enharmonic key signatures). We’ll start with the C major scale and move in the cycle of fourths (moving left on the circle) until we return to C.

You’ll notice that every major key has a relative minor key derived from the sixth scale degree of its major counterpart. This gives us not only minor keys but also minor scales.

For more on relative minor, check out our post on relative minor and parallel minor.

This introduces the concept of modes of the major scale. In major keys, the sixth mode of the major scale is the Aeolian or natural minor scale. In minor keys, it is the parent scale or first mode.

To learn more about the modes of the major scale, check out our ultimate guide to modes of the major scale.

C Major Scale

C Major Scale notated with whole steps and half steps

The key of C major is the simplest major scale and has no sharps or flats. It’s spelled:

  • C-D-E-F-G-A-B-C

The relative minor key of C major is A minor and is made of the same sequences of notes as C major, only it starts on A:

  • A-B-C-D-E-F-G-A

F Major Scale

F Major Scale notated with whole steps and half steps

The key of F has one flat and is spelled:

  • F-G-A-Bb-C-D-E-F

The relative minor key of F major is D minor and is spelled:

  • D-E-F-G-A-Bb-C-D

Bb Major Scale

B Flat Major Scale notated with whole steps and half steps

The key of Bb has two flats. The B flat major scale is spelled:

  • Bb-C-D-Eb-F-G-A-Bb

The relative minor key of Bb major is G minor and is spelled:

  • G-A-Bb-C-D-Eb-F-G

Eb Major Scale

E Flat Major Scale notated with whole steps and half steps

The key of Eb has three flats and is spelled:

  • Eb-F-G-Ab-Bb-C-D-Eb

The relative minor key of Eb is C minor and is spelled:

  • C-D-Eb-F-G-Ab-Bb-C

Ab Major Scale

A Flat Major Scale notated with whole steps and half steps

The key of Ab has four flats. The Ab major scale is spelled:

  • Ab-Bb-C-Db-Eb-F-G-Ab

The relative minor key of Ab major is F minor and is spelled:

  • F-G-Ab-Bb-C-Db-Eb-F

Db Major Scale (Also C Sharp Major Scale)

D Flat Major Scale notated with whole steps and half steps

The key of Db has five flats. The Db major scale is spelled:

  • Db-Eb-F-Gb-Ab-Bb-C-Db

The key of C# is enharmonically equivalent to Db (meaning it sounds the same but is spelled differently). Instead of five flats, every note is sharp in the key of C# major:

  • C#-D#-E#-F#-G#-A#-B#-C#

The relative minor key of Db is Bb minor and is spelled:

  • Bb-C-Db-Eb-F-Gb-Ab-Bb

F# Major Scale (Also Gb Major Scale)

F Sharp Major Scale notated with whole steps and half steps

The Key of F# has six sharps. The F# major (or Gb major) scale is spelled:

  • F#-G#-A#-B-C#-D#-E#-F#

The key of Gb is enharmonically equivalent to F# but is spelled differently. It has six flats:

  • Gb-Ab-Bb-Cb-Db-Eb-F-Gb

The relative minor key of F# major is D# minor and is spelled:

  • D#-E#-F#-G#-A#-B-C#-D#

B Major Scale (Also Cb Major Scale)

B Major Scale notated with whole steps and half steps

The key of B has five sharps. The B major scale is spelled:

  • B-C#-D#-E-F#-G#-A#-B

The key of Cb, though rare, is technically a real key signature and is enharmonically equivalent to the key of B. They have the same notes pitch-wise, but the key signatures are different. All the notes in the key of Cb are flat, which is spelled:

  • Cb-Cb-Eb-Fb-Gb-Ab-Bb-Cb

The relative minor key of B major is G# minor, and it’s spelled:

  • G#-A#-B-C#-D#-E-F#-G#

E Major Scale

E Major Scale notated with whole steps and half steps

The key of E has four sharps. The E major scale is spelled:

  • E-F#-G#-A-B-C#-D#-E

The relative minor key of E major is the C# minor scale. It is spelled:

  • C#-D#-E-F#-G#-A-B-C#

A Major Scale

A major scale notated with whole steps and half steps

The key of A has three sharps. The A major scale is spelled:

  • A-B-C#-D-E-F#-G#-A

The relative minor of A major is F# minor, and it’s spelled:

  • F#-G#-A-B-C#-D-E-F#

D Major Scale

D Major Scale notated with whole steps and half steps

The key of D has two sharps. The D major scale is spelled:

  • D-E-F#-G-A-B-C#-D

The relative minor key of D major is B minor, which is spelled:

  • B-C#-D-E-F#-G-A-B

G Major Scale

G Major scale notated with whole steps and half steps

The key of G has one sharp. The G major scale is spelled:

  • G-A-B-C-D-E-F#-G

The relative minor key of G major is E minor. E minor is spelled:

  • E-F#-G-A-B-C-D-E

Now that you understand the major scale, it’s time to practice it! Check out this article on different ways to practice scales to add variety and thoroughness to your jazz practice sessions.

Ways to Think of Major Scales When Practicing

When first learning music theory, separating concepts into different categories helps you structure new information and understand it better.

That’s why you are taught to think of chords as chords and scales as scales. But in reality, both chords and scales are two ways of organizing the same thing—pitch environments.

A pitch environment is a collection of pitches that have a particular sound when grouped together. The major scale is one pitch environment, but there are others as well.

Here are three ways you can picture the major scale that will help you understand it better as a whole.

Thinking of Major Scales As Sequences or Formulas

Western music divides an octave into 12 pitches—these are the 12 notes found in the chromatic scale. Each pitch is one half step away from the other:

Chromatic Scale notated with enharmonic notes

The major scale has only seven notes. To fit seven notes across twelve pitch options, we must omit some pitches on our way toward the octave. This is where the major scale formula comes in.

The major scale formula tells us what size steps to take as we progress through the scale.

We have two options:

  • whole steps
  • half steps

A whole step is twice as large an interval as a half step, and a half step is the smallest interval unit in music theory (Western music occasionally uses microtones in genres like the blues; however, it isn’t common to think about microtones in theory).

Other music traditions have units smaller than a half step. However, in the major scale, the half step is the smallest unit for our purposes.

  • A whole step is the distance between C and D
  • A half step is the distance between C and Db/C#

The major scale formula is like a set of directions that lets us know what steps to take and when to take them. Here is the major scale formula:

  • W-W-H-W-W-W-H

If you pick any of the 12 notes and follow this formula, you’ll end up an octave higher on the same note. Let’s try it out!

Follow the arrows and take notice of the whole steps and half steps that lead us to the next C:

Major Scale Formula imposed over the chromatic scale starting on C

No matter which note you start on, you’ll end up one octave higher on the same note if you follow this formula. Here is the same formula starting on a D:

Major Scale Formula imposed over the chromatic scale starting on D

Thinking of Major Scales As Sets of Interval Relationships

Other ways to think about the major scale complement thinking about it as a formula. You should also think about the major scale as a set of intervals measured from the root.

If memorizing the major scale formula helps you see it linearly, memorizing the interval relationships in the major scale will help you see it more like a chord player—you’ll see the dimensionality of the major scale.

The 12 Intervals in an Octave

Before exploring the intervals within the major scale, let’s first look at all the different intervals within an octave. Using C as our root note, we’ll identify and name the distances between these notes.

Remember, intervals are distances between two notes!

Minor Second

Here, we have a minor second interval between C and Db/C#:

Minor second interval between C and Db/C#
Major Second

Here is a major second interval between C and D:

Major second interval between C and D
Minor Third

Here is a minor third interval between C and Eb (D#):

Minor third interval between C and Eb
Major Third

Here is a major third interval between C and E:

Major third interval between C and E
Perfect Fourth

Here is a perfect fourth interval between C and F:

Perfect fourth interval between C and F
Tritone

Here is a tritone interval between C and Gb (F#):

Tritone interval between C and Gb
Perfect Fifth

Here is a perfect fifth interval between C and G:

Perfect fifth interval between C and G
Minor Sixth

Here is a minor sixth interval between C and Ab (G#):

Minor sixth interval between C and Ab.
Major Sixth

Here is a major sixth interval between C and A:

Major sixth interval between C and A.
Minor Seventh

Here is a minor seventh interval between C and Bb (A#):

Minor seventh interval between C and Bb
Major Seventh

Here is a major seventh interval between C and B:

Major seventh interval between C and B
Octave

Here is an octave between C and C:

Cctave between C and C

For more on musical intervals, check out our guide to the musical intervals within an octave.

Intervals Within Major Scales

Now that we’ve identified all twelve intervals within an octave, let’s isolate the intervals found within the major scale:

Intervals Found Within the Major Scale

These are the scale degrees of the major scale:

  • C to C is a Unison Interval
  • C to D is a Major Second (M2)
  • C to E is a Major Third (M3)
  • C to F is a Perfect Fourth (P4)
  • C to G is a Perfect Fifth (P5)
  • C to A is a Major Sixth (M6)
  • C to B is a Major Seventh (M7)
  • C to C is an Octave

Remember that the major scale formula can start on any of the 12 notes within an octave! Though the note names may change, the note relationships, including intervallic relationships, stay the same!

That means an A flat major scale contains all the same relationships as a B flat major scale or C major scale (or any major scale), even though the individual note names change.

Thinking of the Major Scales Chordally

Thinking about the intervallic relationships in the major scale opens the door to identifying the diatonic chords within it. Diatonic means “within the scale.” Therefore, we can construct diatonic chords from the notes of the major scale.

If we consider all the intervallic relationships when harmonizing the major scale, we will end up with all the diatonic chords in major and minor keys.

Here is the C major scale harmonized in thirds. We end up with a sequence of triads that comprise the key of C major:

C major scale harmonized in thirds with scale degrees and Roman Numeral chords shown

Composers and songwriters use the scale degrees of major scale to construct diatonic chord progressions. Most pop tunes and even some jazz standards are written entirely within the diatonic framework of one key signature, which is derived from the major scale.

  • The I chord is built from the root of the major scale, and its scale degree name is the Tonic.
  • The ii chord is built from the second scale degree, and its scale degree name is the Supertonic.
  • The iii chord is built from the third scale degree, and its scale degree name is the Mediant.
  • The IV chord is built from the fourth scale degree. Its scale degree name is the Subdominant.
  • The V chord is built from the fifth scale degree, and its name is the Dominant.
  • The vi chord is built from the sixth scale degree. Its name is the Submediant.
  • The vii° chord is built from the seventh scale degree. Its name is the Leading Tone.

For more on jazz chord progressions, check out this post on 9 jazz chord progressions you need to know.

Remember—no matter which major scale you play, all the intervallic relationships, step sequences, and chordal relationships are the same! It’s only the pitches that change from scale to scale.

The major scale structure is absolute!

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  1. General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
  2. Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
  3. Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
  4. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
  5. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
  6. Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
  7. Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]

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DOWNLOAD THIS CHORD CHART

Get our FREE "WHY MASTERING THESE 12 MAJOR SCALES IS THE SECRET TO JAZZ SUCCESS" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "WHY MASTERING THESE 12 MAJOR SCALES IS THE SECRET TO JAZZ SUCCESS" chord chart and our entire library of 200+ jazz standards!

Chord Chart