#1
hey

I have a question. Do the same scale degrees apply for ALL scales, or just the major and minors? So do they apply to the pentatonics? or blues scales or modes.
Breakin` the Law!
#2
I believe 1 through 7 always refer to the notes of the major scale, and any other scale is described in terms of accidentals of these, i.e. 1 2 b3 4 5 b6 b7 would be minor. I think that when you're talking about other scales, you put each note in the context of the major scale, and name it accordingly, so pentatonic would be 1 b3 4 5 b7, and something like diminished would be 1 2 b3 4 b5 #5 6 7. I'm not completely sure about that, but that's what seems logical to me.
#3
Quote by guywithguitar
I believe 1 through 7 always refer to the notes of the major scale, and any other scale is described in terms of accidentals of these, i.e. 1 2 b3 4 5 b6 b7 would be minor. I think that when you're talking about other scales, you put each note in the context of the major scale, and name it accordingly, so pentatonic would be 1 b3 4 5 b7, and something like diminished would be 1 2 b3 4 b5 #5 6 7. I'm not completely sure about that, but that's what seems logical to me.


yeah, this would be the right answer.
Anfangen ist leicht, Beharren eine Kunst.
#5
Scale degrees number the notes of the scale, so it is always 1 through 7 for a particular scale. Only when you consider them in the context of another scale, you lower or raise the intervals.
#6
Quote by AeolianWolf
yeah, this would be the right answer.

Alright, good Do you know if there is an accepted method of choosing which scale degree to alter for scales like whole tone, where 1 2 3 #4 #5 b7 and 1 2 3 #4 #5 #6 would seem to work just as well as each other?
#7
Quote by guywithguitar
Alright, good Do you know if there is an accepted method of choosing which scale degree to alter for scales like whole tone, where 1 2 3 #4 #5 b7 and 1 2 3 #4 #5 #6 would seem to work just as well as each other?


1 2 3 #4 #5 #6 is far better. the implication is that they are all whole tones, and #5 to b7 is not a whole tone, it is an augmented second. theory tends to focus on the relationship between the pitch classes in the scale, and not so much on their return to the tonic. i cite as evidence a diminished seventh chord (which is built by stacking minor thirds):

Cº7 = C Eb Gb Bbb Dbb (which is enharmonic to C, but called Dbb since Bbb to C is not a minor third, but an augmented second).
Anfangen ist leicht, Beharren eine Kunst.