The natural major scale is the diatonic
Ionian mode. The simplest major scale to
write is
C major, the only major scale not requiring
sharps or
flats. It can be played on the white keys of the piano: {{block indent| { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4 d e f g a b c } } }} The major scale has a central importance in Western music, particularly that of the
common practice period and in
popular music. In
Carnatic music, it is known as
Sankarabharanam. In
Hindustani classical music, it is known as
Bilaval. The sequence of
intervals between the notes of a major scale is: : whole, whole, half, whole, whole, whole, half where "whole" stands for a
whole tone (a red u-shaped curve in the figure), and "half" stands for a
semitone (a red angled line in the figure).
Whole steps and
half steps are explained mathematically in a related article,
Twelfth root of two. Notably, in terms of the sound frequency ratio in
equal temperament, a whole tone has twice the sound frequency ratio of a semitone and an
octave has twelve half steps (semitones) spaced equally. The sound frequency doubles for corresponding notes from one octave to the next. The ratio is 3/2 = 1.5 for a
perfect fifth, for example from C to G on a major scale, and 5/4 = 1.25 for a
major third, for example from C to E. A major scale may be seen as two identical
tetrachords separated by a whole tone. Each tetrachord consists of two whole tones followed by a
semitone (i.e. whole, whole, half). The major scale is
maximally even.
Scale degrees {{block indent| { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 15/4 c4-1 d-2 e-3 f-4 g-5 a-6 b-7 c-8 b-7 a-6 g-5 f-4 e-3 d-2 c-1 } } }} The
scale degrees are named: • 1st:
Tonic • 2nd:
Supertonic • 3rd:
Mediant • 4th:
Subdominant • 5th:
Dominant • 6th:
Submediant • 7th:
Leading tone • 8th:
Tonic Harmony {{block indent| { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/1 1_\markup I _\markup ii _\markup iii _\markup IV _\markup V _\markup vi _\markup vii° } } }} The triads built on each scale degree follow a distinct pattern. The
roman numeral analysis is shown in parentheses. • 1st:
major triad (I) • 2nd:
minor triad (ii) • 3rd: minor triad (iii) • 4th: major triad (IV) • 5th: major triad (V) • 6th: minor triad (vi) • 7th:
diminished triad (viio) {{block indent| { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/1 1_\markup IM7 _\markup ii7 _\markup iii7 _\markup IVM7 _\markup V7 _\markup vi7 _\markup viiø7}} }} The seventh chords built on each scale degree follow a distinct pattern. The
roman numeral analysis is shown in parentheses. • 1st:
major seventh chord (IM7) • 2nd:
minor seventh chord (ii7) • 3rd: minor seventh chord (iii7) • 4th: major seventh chord (IVM7) • 5th:
dominant seventh chord (V7) • 6th: minor seventh chord (vi7) • 7th:
half-diminished seventh chord (viiø7) ==Relationship to major keys==