Scale degrees are the building blocks of music theory, providing a framework for understanding melody and harmony. Each note in a scale has a specific name and function, from the stable to the tension-creating . These roles shape how music moves and resolves.
Understanding scale degrees is crucial for composing, analyzing, and performing music. They influence melodic tendencies, harmonic progressions, and overall tonal structure. By mastering scale degrees, musicians can better grasp the inner workings of musical compositions across various styles and genres.
Scale degree names
Scale degrees are the notes of a scale, numbered from 1 to 7, with each number representing a specific note's position and function within the scale
The names of the scale degrees provide a way to refer to specific notes within a scale, regardless of the key or specific pitches being used
Tonic
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The first scale degree, also known as the keynote or root of the scale
Serves as the tonal center and provides a sense of and stability
In the key of C major, the tonic is the note C
Supertonic
The second scale degree, located one whole step above the tonic
Often functions as a predominant chord, leading toward the dominant
In the key of C major, the is the note D
Mediant
The third scale degree, located midway between the tonic and the dominant
Plays a role in both tonic and , depending on the harmonic context
In the key of C major, the is the note E
Subdominant
The fourth scale degree, located a perfect fourth above the tonic
Serves a , often leading toward the dominant
In the key of C major, the is the note F
Dominant
The fifth scale degree, located a perfect fifth above the tonic
Plays a crucial role in establishing tonality and creating tension that resolves to the tonic
In the key of C major, the dominant is the note G
Submediant
The sixth scale degree, located midway between the subdominant and the tonic
Often serves a , acting as a substitute for the tonic chord
In the key of C major, the is the note A
Leading tone vs subtonic
The seventh scale degree, located a half step below the tonic
In major scales and harmonic minor scales, the seventh degree is called the , which has a strong tendency to resolve upward to the tonic
In natural minor scales, the seventh degree is called the , which is a whole step below the tonic and lacks the strong upward pull of the leading tone
In the key of C major, the leading tone is the note B, while in C natural minor, the subtonic is the note B♭
Functions of scale degrees
Scale degrees can be grouped into three main functional categories: tonic, predominant, and dominant
These functions describe the role each scale degree plays in creating and resolving musical tension within a piece
Tonic function
Scale degrees 1, 3, and 6 (tonic, mediant, and submediant) are associated with tonic function
Tonic function provides a sense of stability, rest, and resolution
Chords built on these scale degrees (I, iii, and vi) often serve as tonic substitutes or extensions
Predominant function
Scale degrees 2 and 4 (supertonic and subdominant) are associated with predominant function
Predominant function creates tension and instability, often leading toward the dominant
Chords built on these scale degrees (ii and IV) frequently precede the dominant chord in harmonic progressions
Dominant function
Scale degrees 5 and 7 (dominant and leading tone/subtonic) are associated with dominant function
Dominant function creates the strongest sense of tension and the desire for resolution back to the tonic
The dominant chord (V) and the diminished chord built on the leading tone (vii°) are the primary chords with dominant function
Scale degree tendencies
Each scale degree has its own unique tendencies or inclinations to move toward other scale degrees
Understanding these tendencies helps in creating melodies, harmonies, and voice leading that sound natural and coherent
Tendency tones
are scale degrees with a strong inclination to resolve in a specific direction
The leading tone (scale degree 7 in major and harmonic minor scales) has a strong tendency to resolve upward to the tonic
The subdominant (scale degree 4) has a tendency to resolve downward to the mediant
The supertonic (scale degree 2) has a tendency to resolve upward to the mediant
Resolution of tendency tones
In traditional harmony, tendency tones are often resolved according to their inclinations
The leading tone typically resolves upward by a half step to the tonic
The subdominant typically resolves downward by a whole step to the mediant
The supertonic can resolve upward by a whole step to the mediant or downward by a half step to the tonic, depending on the harmonic context
Scale degree in major vs minor
While major and minor scales share the same scale degree names and functions, there are some differences in the intervals between certain scale degrees
Raised 7th degree in minor
In harmonic minor scales, the 7th scale degree is raised by a half step, creating a leading tone that resolves strongly to the tonic
This raised 7th degree is used to create a dominant chord (V) with a major third, which strengthens the dominant-tonic resolution
Lowered 6th and 7th degrees in natural minor
In natural minor scales, the 6th and 7th scale degrees are lowered by a half step compared to the
The lowered 6th degree (submediant) and 7th degree (subtonic) create a darker, more somber sound associated with minor tonality
The lowered 7th degree in natural minor does not have the same strong upward pull as the leading tone in major or harmonic minor scales
Scale degree in melody
Understanding scale degrees is essential for creating and analyzing melodies
Melodic tendencies of scale degrees
Melodies often follow the tendencies of scale degrees, with tendency tones resolving according to their inclinations
The tonic is a common starting and ending point for melodies, providing a sense of stability
The leading tone often resolves upward to the tonic, creating a sense of finality or resolution
The dominant and subdominant scale degrees are frequently used to create tension and movement in melodies
Recognizing scale degrees by ear
Developing the ability to recognize scale degrees by ear is a crucial skill for musicians
Relative pitch exercises, such as solfège or scale degree numbers, can help train the ear to identify the unique sounds and functions of each scale degree
Regularly practicing melodic dictation and sight-singing exercises can improve the ability to recognize and reproduce scale degrees in melodies
Scale degree in harmony
Scale degrees form the basis for building chords and understanding harmonic progressions
Primary triads
The are chords built on the tonic, subdominant, and dominant scale degrees (I, IV, and V)
These chords are the most important and frequently used in tonal harmony
Primary triads establish the key center and create the fundamental harmonic structure of a piece
Secondary triads
are chords built on the remaining scale degrees (ii, iii, vi, and vii°)
These chords provide harmonic variety and can serve as substitutes or extensions of the primary triads
Secondary triads are often used to create smooth voice leading and add interest to harmonic progressions
Functional harmony using scale degrees
is based on the relationships between chords built on different scale degrees
Chords are categorized into tonic, predominant, and dominant functions based on their scale degree and role in creating and resolving tension
Common functional harmonic progressions include I-IV-V-I (tonic-predominant-dominant-tonic) and I-vi-ii-V-I (tonic-tonic substitute-predominant-dominant-tonic)
Understanding scale degrees and their functions is essential for analyzing and composing music using functional harmony