Scales
Scale construction, formulas, and practice sequences for major, minor, pentatonic, blues, and modal scales.
Major Scales — All 12 Keys
Major scale formula: W W H W W W H
Circle of fifths order (practice in this sequence):
C major: C D E F G A B C (0 accidentals)
G major: G A B C D E F# G (1#)
D major: D E F# G A B C# D (2#)
A major: A B C# D E F# G# A (3#)
E major: E F# G# A B C# D# E (4#)
B major: B C# D# E F# G# A# B (5#)
F# major: F# G# A# B C# D# E# F# (6#)
Db major: Db Eb F Gb Ab Bb C Db (5b)
Ab major: Ab Bb C Db Eb F G Ab (4b)
Eb major: Eb F G Ab Bb C D Eb (3b)
Bb major: Bb C D Eb F G A Bb (2b)
F major: F G A Bb C D E F (1b)Natural Minor Scales — All 12 Keys
Natural minor formula: W H W W H W W
Relative minor is 3 semitones below its major:
A minor: A B C D E F G A (relative of C, 0 accidentals)
E minor: E F# G A B C D E (relative of G, 1#)
B minor: B C# D E F# G A B (relative of D, 2#)
F# minor: F# G# A B C# D E F# (relative of A, 3#)
C# minor: C# D# E F# G# A B C# (relative of E, 4#)
G# minor: G# A# B C# D# E F# G# (relative of B, 5#)
D# minor: D# E# F# G# A# B C# D# (relative of F#, 6#)
Bb minor: Bb C Db Eb F Gb Ab Bb (relative of Db, 5b)
F minor: F G Ab Bb C Db Eb F (relative of Ab, 4b)
C minor: C D Eb F G Ab Bb C (relative of Eb, 3b)
G minor: G A Bb C D Eb F G (relative of Bb, 2b)
D minor: D E F G A Bb C D (relative of F, 1b)Harmonic Minor Scales — All 12 Keys
Harmonic minor formula: W H W W H 3H H (raised 7th)
The raised 7th creates a leading tone → strong V7→i resolution.
The augmented 2nd (6→7) gives the characteristic "exotic" sound.
Essential for Wieniawski, Paganini, and all Romantic repertoire.
A harmonic minor: A B C D E F G# A
E harmonic minor: E F# G A B C D# E
B harmonic minor: B C# D E F# G A# B
F# harmonic minor: F# G# A B C# D E# F#
C# harmonic minor: C# D# E F# G# A B# C#
G# harmonic minor: G# A# B C# D# E F## G#
Eb harmonic minor: Eb F Gb Ab Bb Cb D Eb
Bb harmonic minor: Bb C Db Eb F Gb A Bb
F harmonic minor: F G Ab Bb C Db E F
C harmonic minor: C D Eb F G Ab B C
G harmonic minor: G A Bb C D Eb F# G
D harmonic minor: D E F G A Bb C# D
Augmented 2nd intervals (practice these specifically):
A hm: F→G# E hm: C→D# B hm: G→A#
F# hm: D→E# C# hm: A→B# G# hm: E→F##
Eb hm: Cb→D Bb hm: Gb→A F hm: Db→E
C hm: Ab→B G hm: Eb→F# D hm: Bb→C#Melodic Minor Scales — All 12 Keys
Melodic minor: ascending W H W W W W H / descending = natural minor
Ascending raises 6th and 7th; descending reverts to natural minor.
Classical rule: different ascending vs descending.
Jazz rule: same both directions (ascending form only).
Ascending Descending (natural minor)
A melodic: A B C D E F# G# A A G F E D C B A
E melodic: E F# G A B C# D# E E D C B A G F# E
B melodic: B C# D E F# G# A# B B A G F# E D C# B
F# melodic: F# G# A B C# D# E# F# F# E D C# B A G# F#
C# melodic: C# D# E F# G# A# B# C# C# B A G# F# E D# C#
G# melodic: G# A# B C# D# E# F## G# G# F# E D# C# B A# G#
Eb melodic: Eb F Gb Ab Bb C D Eb Eb Db Cb Bb Ab Gb F Eb
Bb melodic: Bb C Db Eb F G A Bb Bb Ab Gb F Eb Db C Bb
F melodic: F G Ab Bb C D E F F Eb Db C Bb Ab G F
C melodic: C D Eb F G A B C C Bb Ab G F Eb D C
G melodic: G A Bb C D E F# G G F Eb D C Bb A G
D melodic: D E F G A B C# D D C Bb A G F E DPentatonic Scales — All 12 Keys
Major pentatonic: 1 2 3 5 6 (remove 4th and 7th from major)
C major pent: C D E G A (= A minor pent)
G major pent: G A B D E (= E minor pent)
D major pent: D E F# A B (= B minor pent)
A major pent: A B C# E F# (= F# minor pent)
E major pent: E F# G# B C# (= C# minor pent)
B major pent: B C# D# F# G# (= G# minor pent)
F# major pent: F# G# A# C# D# (= D# minor pent)
Db major pent: Db Eb F Ab Bb (= Bb minor pent)
Ab major pent: Ab Bb C Eb F (= F minor pent)
Eb major pent: Eb F G Bb C (= C minor pent)
Bb major pent: Bb C D F G (= G minor pent)
F major pent: F G A C D (= D minor pent)Minor pentatonic: 1 b3 4 5 b7 (remove 2nd and 6th from natural minor)
A minor pent: A C D E G (= C major pent)
E minor pent: E G A B D (= G major pent)
B minor pent: B D E F# A (= D major pent)
F# minor pent: F# A B C# E (= A major pent)
C# minor pent: C# E F# G# B (= E major pent)
G# minor pent: G# B C# D# F# (= B major pent)
D# minor pent: D# F# G# A# C# (= F# major pent)
Bb minor pent: Bb Db Eb F Ab (= Db major pent)
F minor pent: F Ab Bb C Eb (= Ab major pent)
C minor pent: C Eb F G Bb (= Eb major pent)
G minor pent: G Bb C D F (= Bb major pent)
D minor pent: D F G A C (= F major pent)Blues Scales — All 12 Keys
Blues scale: minor pentatonic + b5 (blue note)
Formula: 1 b3 4 b5 5 b7
A blues: A C D Eb E G
E blues: E G A Bb B D
B blues: B D E F F# A
F# blues: F# A B C C# E
C# blues: C# E F# G G# B
G# blues: G# B C# D D# F#
Eb blues: Eb Gb Ab A Bb Db
Bb blues: Bb Db Eb E F Ab
F blues: F Ab Bb B C Eb
C blues: C Eb F Gb G Bb
G blues: G Bb C Db D F
D blues: D F G Ab A CModes — Built from Any Root
All 7 modes starting from C (same notes as parent major)
Mode Parent Formula (from root) Character
───────────────────────────────────────────────────────────────────
Ionian C major W W H W W W H major, bright
Dorian C major W H W W W H W minor, raised 6th
Phrygian C major H W W W H W W minor, lowered 2nd
Lydian C major W W W H W W H major, raised 4th
Mixolydian C major W W H W W H W major, lowered 7th
Aeolian C major W H W W H W W natural minor
Locrian C major H W W H W W W diminished
Modes from C (parallel — all starting on C):
C Ionian: C D E F G A B (= C major)
C Dorian: C D Eb F G A Bb (like Bb major from C)
C Phrygian: C Db Eb F G Ab Bb (like Ab major from C)
C Lydian: C D E F# G A B (like G major from C)
C Mixolydian: C D E F G A Bb (like F major from C)
C Aeolian: C D Eb F G Ab Bb (= C natural minor)
C Locrian: C Db Eb F Gb Ab Bb (like Db major from C)Modes from D (Wieniawski Concerto No. 2 is in D minor)
D Ionian: D E F# G A B C# (= D major)
D Dorian: D E F G A B C (= C major from D)
D Phrygian: D Eb F G A Bb C (= Bb major from D)
D Lydian: D E F# G# A B C# (= A major from D)
D Mixolydian: D E F# G A B C (= G major from D)
D Aeolian: D E F G A Bb C (= D natural minor)
D Locrian: D Eb F G Ab Bb C (= Eb major from D)Modes from G (common violin key)
G Ionian: G A B C D E F# (= G major)
G Dorian: G A Bb C D E F (= F major from G)
G Phrygian: G Ab Bb C D Eb F (= Eb major from G)
G Lydian: G A B C# D E F# (= D major from G)
G Mixolydian: G A B C D E F (= C major from G)
G Aeolian: G A Bb C D Eb F (= G natural minor)
G Locrian: G Ab Bb C Db Eb F (= Ab major from G)Whole Tone, Diminished, and Chromatic
Whole tone scales (only 2 exist)
Whole tone 1: C D E F# G# A# (all whole steps)
Whole tone 2: Db Eb F G A B (all whole steps)
Every note can be the root — only 2 distinct sets of pitches.
Sound: dreamy, floating, no resolution. Debussy.Diminished scales (only 3 exist)
Whole-half diminished (used over diminished chords):
Dim 1: C D Eb F Gb Ab A B
Dim 2: Db Eb E F# G A Bb C
Dim 3: D E F G Ab Bb B C#
Half-whole diminished (used over dominant chords):
Dim 1: C Db Eb E F# G A Bb
Dim 2: Db D E F G Ab Bb B
Dim 3: D Eb F Gb Ab A B C
8 notes per scale. Symmetric — repeats every minor 3rd.Chromatic scale
All 12 semitones:
C C# D D# E F F# G G# A A# B C
Practice ascending AND descending.
Practice in 3 octaves minimum for Wieniawski-level repertoire.
Essential for chromatic passages, cadenzas, and virtuosic runs.Double-Stop Scales (Violin/Viola)
Scales in thirds
C major in thirds (both notes simultaneously):
C+E D+F E+G F+A G+B A+C B+D C+E
G major in thirds:
G+B A+C B+D C+E D+F# E+G F#+A G+B
D major in thirds:
D+F# E+G F#+A G+B A+C# B+D C#+E D+F#
D minor in thirds:
D+F E+G F+A G+Bb A+C Bb+D C#+E D+F
Practice: one position at a time, then shift between positions.
Wieniawski demands flawless thirds — Polonaise Brillante, Concerto No. 2.Scales in sixths
C major in sixths:
C+A D+B E+C F+D G+E A+F B+G C+A
G major in sixths:
G+E A+F# B+G C+A D+B E+C F#+D G+E
D minor in sixths:
D+Bb E+C F+D G+E A+F Bb+G C#+A D+Bb
Sixths require precise intonation — the interval is wide.
Practice slowly with drone or tuner.Scales in octaves
Octave scales: same note doubled at the octave
Play in all keys — the fingering pattern is consistent
C major in octaves: C+C D+D E+E F+F G+G A+A B+B C+C
G major in octaves: G+G A+A B+B C+C D+D E+E F#+F# G+G
D major in octaves: D+D E+E F#+F# G+G A+A B+B C#+C# D+D
Fingered octaves (1-4) vs regular octaves (1-3/1-4):
Fingered octaves allow legato passages at speed
Required for Wieniawski cadenzas and Paganini capricesScales in fingered octaves
Fingered octaves use 1-2 and 3-4 alternation:
Allows chromatic and diatonic passages in octaves at speed
Wieniawski Scherzo-Tarantelle: rapid octave passages
Ernst, Paganini, Ysaÿe: all demand this technique
Practice approach:
1. Learn the shifting pattern slowly (quarter = 40)
2. Ensure both notes speak clearly
3. Intonation with tuner — upper note tends to go sharp
4. Gradually increase tempo: 40 → 50 → 60 → 72 → 84 → 96Scale Practice Patterns
Sequential patterns (apply to ANY scale)
Straight: 1-2-3-4-5-6-7-8-7-6-5-4-3-2-1
Thirds: 1-3, 2-4, 3-5, 4-6, 5-7, 6-8, 7-9
Fourths: 1-4, 2-5, 3-6, 4-7, 5-8
Fifths: 1-5, 2-6, 3-7, 4-8
Sixths: 1-6, 2-7, 3-8
Triads: 1-3-5, 2-4-6, 3-5-7, 4-6-8, 5-7-9
Seventh chords: 1-3-5-7, 2-4-6-8, 3-5-7-9
3-note groups: 1-2-3, 2-3-4, 3-4-5, 4-5-6
4-note groups: 1-2-3-4, 2-3-4-5, 3-4-5-6
Contrary motion: start middle, go out both directionsTempo progression
Phase 1 — Accuracy (week 1-2):
Quarter = 60 whole notes, then half notes
Focus: correct notes, clean shifts, even tone
Phase 2 — Fluency (week 3-4):
Quarter = 72-96 quarter notes, then eighth notes
Focus: even rhythm, smooth connections
Phase 3 — Speed (week 5+):
Quarter = 108-144 eighth notes, then sixteenths
Focus: clarity at speed, no tension in left hand
Phase 4 — Performance (ongoing):
Quarter = 144+ sixteenth notes
Focus: musical phrasing even in technical passages
This is where Wieniawski livesCircle of fifths practice order
Run every scale type through all 12 keys in this order:
C → G → D → A → E → B → F#/Gb → Db → Ab → Eb → Bb → F → C
Alternate session: circle of fourths (reverse):
C → F → Bb → Eb → Ab → Db → Gb/F# → B → E → A → D → G → C
Weekly rotation:
Mon: major + natural minor (all 12)
Tue: harmonic minor + melodic minor (all 12)
Wed: pentatonic + blues (all 12)
Thu: modes from D, G, A (Wieniawski keys)
Fri: double stops — thirds, sixths, octaves
Sat: arpeggios through all keys
Sun: chromatic + diminished + whole toneKey Areas for Wieniawski Repertoire
Primary keys in major works
Concerto No. 1 in F# minor, Op. 14:
F# minor (natural, harmonic, melodic)
A major (relative major)
D major (secondary key area)
Prepare: F# minor arpeggios, A major scales, diminished runs
Concerto No. 2 in D minor, Op. 22:
D minor (natural, harmonic, melodic) — home key
D major — finale theme
F major (relative major)
A major/minor — dominant area
Bb major — secondary area
Prepare: D minor all forms, chromatic passages, octave scales
Scherzo-Tarantelle in G minor, Op. 16:
G minor (harmonic especially)
Bb major (relative)
G major — contrasting section
Prepare: G minor arpeggios, rapid string crossings, spiccato scales
Polonaise Brillante No. 1 in D major, Op. 4:
D major — home key
B minor (relative minor)
A major — dominant
Prepare: D major double stops in thirds, brilliant passage work
Légende in G minor, Op. 17:
G minor — lyrical
Bb major
Prepare: singing tone in G minor, vibrato control through scale passages
Polonaise Brillante No. 2 in A major, Op. 21:
A major
F# minor (relative)
E major (dominant)
Prepare: A major thirds and sixths, rapid arpeggiated passagesDaily Wieniawski preparation routine
15 min: D minor — all 3 forms, 3 octaves, quarter=100+
10 min: G minor — harmonic, 3 octaves with arpeggios
10 min: F# minor — all forms (for Concerto No. 1)
10 min: double stops in the key of the piece you're studying
10 min: chromatic scale, 3 octaves, increasing tempo
5 min: diminished arpeggios through the key area
Total: ~60 min of pure scale/arpeggio work before touching repertoireSee Also
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Theory — intervals and keys underlying scale construction
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Arpeggios — chord tones extracted from scales
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Practice Methods — structured approach to scale practice