One is between 3 and 4, and one between 7 and 1.
This is because it’s not a new note, remember? A “C” played an octave above another “C” is still a “C.”Īlright, so that formula shows you that there are two half-steps in the major scale. Notice, first of all, that I repeat “1” once the scale hits the octave. So what does that all mean? Here’s the way I notate it. With that in mind, here’s a major scale formula: C an octave up is C, right? It’s just a higher C. It’s important to know that an octave is the repetition of the same note. “An octave” refers to a note twelve semitones above another. This is the idea behind a scale steps are organized in such a way that they arrive one octave up. Stack a bunch of those steps together and you can climb to the next story of a building. Some steps in the later are 6 inches from the next, some are 12 inches. I tell my guitar students to imagine a ladder. Side note: half-steps can be called semitones and whole-steps can be called whole tones.Īnd, of course, we can stack these steps on top of one another.
Here’s what a half- and whole-step sound like: The first two notes of the jaws theme are a half-step.Īnd two halves make a whole – add two half-steps together and you get a whole-step. There are two main scales formulas: major and minor.Įach is built on the concept of “steps,” which are either half or whole.Ī half-step is the distance between a white key and the black key next to it on the piano. Just use theory in any way you can and push into territory you’re uncomfortable with as often as you can. Write songs for the sole purpose of exploring diatonic chords, or do whatever you need to do to make things stick. Music theory, on the other hand, can.Ī tip on “studying” the concepts I’ll discuss: use them. My own personal iteration of this is “grimy gold is worth more than shiny shit.” The best mixing techniques and experience won’t fix a mediocre composition. It’s been said on this site before that you can’t polish a turd. To break the rules, you have to realize you unconsciously follow them. And by “rules of Western music,” I mean music theory. So the music you inherently prefer will follow the rules of Western music. And your ears probably prefer Western music. The main problem with ignoring theory is that, chances are, you’ve grown up surrounded by Western music. It’s possible, but I wouldn’t recommend it. Composing without music theory is like mixing a song without EQ.
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