For scale-step in Schenkerian analysis, see scale-step.
In music theory, the scale degree is the position of a particular note on a scale[1] relative to the tonic, the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor.
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-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the C-major scale C–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. In set theory, for instance, the 12 degrees of the chromatic scale usually are numbered starting from C=0, the twelve pitch classes being numbered from 0 to 11.
In a more specific sense, scale degrees are given names that indicate their particular function within the scale (see table below). This implies a functional scale, as is the case in tonal music.
This example gives the names of the functions of the scale degrees in the seven note diatonic scale. The names are the same for the major and minor scales, only the seventh degree changes name when flattened:[2]
The term scale step is sometimes used synonymously with scale degree, but it may alternatively refer to the distance between two successive and adjacent scale degrees (see steps 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.
by the English name for their function: tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic or leading note (leading tone in 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, a second above and below the tonic; the mediant and submediant are a third above and below it; and the dominant and subdominant are a fifth above and below the tonic:[4]
^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.
February 10, 2023
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For scale step in Schenkerian analysis see scale step In music theory the scale degree is the position of a particular note on a scale 1 relative to the tonic the first and main note of the scale from which each octave is assumed to begin Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor 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 tone diatonic scale may become the major scale once the proper degree has been chosen as tonic e g the C major scale C 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 In set theory for instance the 12 degrees of the chromatic scale usually are numbered starting from C 0 the twelve pitch classes being numbered from 0 to 11 In a more specific sense scale degrees are given names that indicate their particular function within the scale see table below This implies a functional scale as is the case in tonal music This example gives the names of the functions of the scale degrees in the seven note diatonic scale The names are the same for the major and minor scales only the seventh degree changes name when flattened 2 source Audio playback is not supported in your browser You can download the audio file The term scale step is sometimes used synonymously with scale degree but it may alternatively refer to the distance between two successive and adjacent scale degrees see steps 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 In Schenkerian analysis scale degree or scale step translates Schenker s German Stufe denoting a chord having gained structural significance see Schenkerian analysis Harmony Contents 1 Major and minor scales 2 Scale degree names 3 See also 4 ReferencesMajor and minor scales EditThe degrees of the traditional major and minor scales may 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 the Nashville Number System sometimes with carets by Roman numerals I II III IV 3 by the English name for their function tonic supertonic mediant subdominant dominant submediant subtonic or leading note leading tone in 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 a second above and below the tonic the mediant and submediant are a third above and below it and the dominant and subdominant are a fifth above and below the tonic 4 Tonic Subtonic Supertonic Submediant Mediant Subdominant Dominant The word subtonic is used when the interval between it and the tonic in the upper octave is a whole step leading note is used when that interval is a half step by their name according to the movable do solfege system do re mi fa so l la and si or ti Scale degree names EditDegree Name Corresponding mode major key Corresponding mode minor key Meaning Note in C major Note in C minor Semitones1 Tonic Ionian Aeolian Tonal center note of final resolution C C 02 Supertonic Dorian Locrian One whole step above the tonic D D 23 Mediant Phrygian Ionian Midway between tonic and dominant in minor key root of relative major key E E 3 44 Subdominant Lydian Dorian Lower dominant same interval below tonic as dominant is above tonic F F 55 Dominant Mixolydian Phrygian Second in importance to the tonic G G 76 Submediant Aeolian Lydian Lower mediant midway between tonic and subdominant in major key root of relative minor key A A 8 97 Subtonic in the natural minor scale Mixolydian One whole step below tonic in natural minor scale B 10Leading tone in the major scale Locrian One half step below tonic Melodically strong affinity for and leads to tonic B 111 Tonic octave Ionian Aeolian Tonal center note of final resolution C C 12See also EditFactor chord Ear training and music educationReferences Edit Kolb Tom 2005 Music Theory p 16 ISBN 0 634 06651 X Benward amp Saker 2003 Music In Theory and Practice vol I p p 32 33 Seventh Edition ISBN 978 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 Einfuhrung in Die Lehre Heinrich Schenkers p 22 Trans John Rothgeb ISBN 0 582 28227 6 Shown in uppercase Roman numerals Nicolas Meeus Scale polifonia armonia Enciclopedia della musica J J Nattiez ed Torino Einaudi vol II Il sapere musicale 2002 p 84 Retrieved from https en 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