Inmusic theory,thescale degreeis the position of a particularnoteon ascale[1]relative to thetonic—the first and main note of the scale from which eachoctaveis assumed to begin. Degrees are useful for indicating the size ofintervalsandchordsand whether an interval ismajororminor.
In the most general sense, the scale degree is the number given to each step of the scale, usually starting with 1 for tonic. Defining it like this implies that a tonic is specified. For instance, the 7-tonediatonic scalemay become the major scale once the proper degree has been chosen as tonic (e.g. theC-major scaleC–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. Inset theory,for instance, the 12 degrees of thechromatic scaleare usually numbered starting from C=0, the twelvepitch classesbeing numbered from 0 to 11.
In a more specific sense, scale degrees are given names that indicate their particularfunctionwithin the scale (seetable below). This implies a functional scale, as is the case intonal music.
This example gives the names of the functions of the scale degrees in the seven-notediatonic scale.The names are the same for the major and minor scales, only the seventh degree changes name when flattened:[2]
The termscale stepis sometimes used synonymously with scale degree, but it may alternatively refer to the distancebetweentwo successive and adjacent scale degrees (seesteps and skips). The terms "whole step"and"half step"are commonly used as interval names (though" whole scale step "or" half scale step "are not used). The number of scale degrees and the distance between them together define the scale they are in.
InSchenkerian analysis,"scale degree" (or "scale step" ) translates Schenker's GermanStufe,denoting "a chord having gained structural significance" (seeSchenkerian analysis § Harmony).
Major and minor scales
editThe degrees of the traditionalmajorandminor scalesmay be identified several ways:
- by their ordinal numbers, as the first, second, third, fourth, fifth, sixth, or seventh degrees of the scale, sometimes raised or lowered;
- by Arabic numerals (1, 2, 3, 4...), as in theNashville Number System,sometimes with carets (
,
,
,
...); - byRoman numerals(I, II, III, IV...);[3]
- by the English name for their function:tonic,supertonic,mediant,subdominant,dominant,submediant,subtonicorleading note(leading tonein the United States), and tonic again. These names are derived from a scheme where the tonic note is the 'centre'. Then the supertonic and subtonic are, respectively, asecondabove and below the tonic; the mediant and submediant are athirdabove and below it; and the dominant and subdominant are afifthabove and below the tonic:[4]
The wordsubtonicis used when theintervalbetween it and the tonic in the upperoctaveis awhole step;leading noteis used when that interval is ahalf-step.Tonic Subtonic Supertonic Submediant Mediant Subdominant Dominant - by their name according to themovable do solfègesystem:do,re,mi,fa,so(l),la,andsi(orti).
Scale degree names
edit| Degree | Name | Corresponding mode (major key) | Corresponding mode (minor key) | Meaning | Note (in C major) | Note (in C minor) | Semitones |
|---|---|---|---|---|---|---|---|
| 1 | Tonic | Ionian | Aeolian | Tonal center, note of final resolution | C | C | 0 |
| 2 | Supertonic | Dorian | Locrian | One whole step above the tonic | D | D | 2 |
| 3 | Mediant | Phrygian | Ionian | Midway between tonic and dominant, (in minor key) tonic of relative major key | E | E♭ | 3-4 |
| 4 | Subdominant | Lydian | Dorian | Lower dominant, happens to have the same interval below tonic as dominant is above tonic | F | F | 5 |
| 5 | Dominant | Mixolydian | Phrygian | Second in importance to the tonic | G | G | 7 |
| 6 | Submediant | Aeolian | Lydian | Lower mediant, midway between tonic and subdominant, (in major key) tonic of relative minor key | A | A♭ | 8-9 |
| 7 | Subtonic(minor seventh) | Mixolydian | One whole step below tonic in natural minor scale. | B♭ | 10 | ||
| Leading tone(major seventh) | Locrian | One half step below tonic. Melodically strong affinity for and leads to tonic | B | 11 |
See also
editReferences
edit- ^Kolb, Tom (2005).Music Theory,p. 16.ISBN0-634-06651-X.
- ^Benward & Saker (2003).Music: In Theory and Practice,vol. I,p p.32–33. Seventh Edition.ISBN978-0-07-294262-0."Scale degree names: Each degree of the seven-tone diatonic scale has a name that relates to its function. The major scale and all three forms of the minor scale share these terms."
- ^Jonas, Oswald(1982).Introduction to the Theory of Heinrich Schenker(1934:Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p.22. Trans. John Rothgeb.ISBN0-582-28227-6.Shown in uppercase Roman numerals.
- ^Nicolas Meeùs, "Scale, polifonia, armonia",Enciclopedia della musica,J.-J. Nattiez ed. Torino, Einaudi, vol. II,Il sapere musicale,2002. p. 84.