Chords for Major Scales Construction | Key Signatures | Music Theory Tutorial

_ _ _ _ [Abm] _ _ _ _
[Dbm] In this video lesson we are going to discuss the construction [E] of a major scale, but before
we start, if you are unfamiliar with any of these terms, please take the time to review
the content in the previous videos.
_ A scale is a group of notes arranged in a definite pattern of whole steps and half steps.
All of the notes of a scale relate back to one common tone [Abm] called the keynote.
The keynote of a D major scale, for instance, is the note D.
[Dbm] This simply means that all
of the notes in the D [Abm] major scale, together [E] as a whole, are in the key of [Abm] D major.
As [Dbm] previously mentioned, a scale is constructed of a particular pattern of whole [Abm] steps and [E] half steps.
The arrangement of [Abm] steps which constructs a major [Dbm] scale is as follows.
Whole step, whole step, [Abm] half step, [E] whole step, whole step, whole [Ebm] step, half step.
[Dbm] By knowing this progression of steps, you will be able to construct [Abm] a major scale [E] from
any given note.
Fortunately, [Ebm] there is an easy way to remember [Dbm] this.
If we break this pattern up into what's called [Abm] tetrachords, instead of [E] seeing it as one long
progression of steps, [Ebm] we are able to look at it as two [Dbm] smaller ones, separated by a whole step.
[Abm] Whole step, whole [E] step, half step, whole step, [Gb] whole step, whole step, half [Dbm] step.
_ Let's take what we've just learned and [Abm] try to put together a [E] C major scale.
_ [Abm] Remember from the last video lesson that [Dbm] B and C, and E and F, are [Abm] the only two sets
of [E] natural notes which are separated by a [Ebm] half step.
[Dbm] Starting on C, and following the correct order of whole [Abm] steps and half steps, [E] a C major scale
would look like this.
[Ab] C, whole step to D, _ [Dbm] whole step to [E] E, _ [F] half step to F, whole [Eb] step to G, [Db] whole step to
[A] A, whole [Abm] step to B, [E] half step to [Ebm] C.
As you can see, [Dbm] the C major scale is made up entirely of natural notes.
[Abm] It is in fact the [E] only major scale which does not require the use of a single [Dbm] sharp or flat.
Every other major scale [Abm] will contain at least one accidental.
[E] _ However, [Abm] if we stick to the correct pattern of whole steps [Dbm] and half steps, they will not
be hard to figure out.
Let's take [Abm] the G major [E] scale for example.
[Eb] Starting on G, and [Dbm] going up one whole step will take [A] you to the note A.
[Abm] Once on A, [E] the next note which is a whole step away [Ebm] is B.
We [Dbm] know that B and C are half steps apart.
Therefore, if we [Abm] continue to follow the correct [E] pattern of steps, the next [Ab] note should be C.
[Dbm] A whole step from C is D.
A whole [E] step from D is E.
The next note needs to be [Ebm] a whole step from E.
[Dbm] Knowing that E and F are half steps apart, [Abm] a whole step from [E] E would then be F sharp.
_ [Abm] Finally, a half step from [Dbm] F sharp is G.
_ [Abm] As you can see, [E] the only accidental [Ebm] used in the construction of a G major scale is F sharp.
Now to make this [E] easier, if we were to place a sharp symbol on this line, F, at the beginning
of the step before the time signature, this implies [Abm] that every note that would normally
be [E] F is now F [Ebm] sharp, whether there is a sharp [Dbm] sign directly next to the note or not.
This is called the [Abm] key signature.
[E] F sharp being the only [Ebm] accidental in the G [Dbm] major scale is the key signature of the [E] key of G major.
Whenever you see a sharp placed [Abm] on this line of a step with a [Dbm] treble clef, or this line
of a step with a bass clef, you will know [E] that you are playing in the key of G.
_ [Ebm] The easiest way to [Dbm] remember each major scale is just by memorizing each [Abm] key signature.
_ [E] Here is a list of each key signature which contains only [Dbm] sharps.
_ _ _ In order to fully understand the [E] key in which each key signature is representing, [Abm] take the
last accidental [Dbm] in the key signature and go up one half step.
[Abm] For instance, [E] one half step above C sharp is D. _
[Dbm] F sharp, C sharp is therefore [Abm] the key signature of [E] D major.
_ [Ebm] Likewise, one half step [Dbm] above A sharp is B.
Therefore, F sharp, [Abm] C sharp, [E] G sharp, D sharp, A [Ebm] sharp is the key signature [Dbm] of B major.
_ _ Aside from [Abm] key signatures with only sharps, there are a [E] number of major scales whose key
signatures are all flats.
With the order of flats, the key in which the key signature is [G] representing is always
the [E] second to last accidental.
The second to last accidental in B flat, E flat, A flat is [Bb] E flat.
[E] Therefore, B flat, E flat, A flat is the key signature of E flat.
The [Eb] only exception to this rule is the key of F major.
The key signature of [E] F major, B flat, does not fall under these guidelines.
_ In the next video lesson, we are going to take what we have just learned about major
scales and use it to start building basic chords.
But before we move on, don't forget to check out 5minutemozart.com for [Gb] free helpful practice
sheets and more in-depth explanations of everything [Abm] discussed in this video.