4.1.1 - Scale Degrees

Music Theory

4.1.1 Scale Degrees

Learners can:

• Define scale degrees.
• Relate scale degrees to scale patterns of major and minor keys.

Vocabulary: tonic, dominant, scale degrees, tonality, key signatures, key, supertonic, mediant, subdominant, submediant, leading tone, subtonic

Scale Degrees

• the position of a pitch within a scale in relation to the first pitch of the scale
• represented by a number with a caret (^) above it.
• can also be represented by special syllables known as solfège (do, re, mi, fa, sol, la, ti, do)

E Major Scale Degrees

In the key of E Major, the scale degrees are: E, F#, G#, A, B, C#, D#, E 1, 2, 3, 4, 5, 6, 7, 8

Scale Degree Functions

Each scale degree has a function in the scale. In the next couple slides, we will learn about each of them.Continue on to learn about the tonic

Tonic (1)

The tonic is the first scale degree. The tonic is the central pitch. The tonic helps to establish tonality in a specific key.

• Start on the tonic.
• End on the tonic.
• Repeat the tonic frequently.
• Resolve other notes to the tonic.

Supertonic (2)

• Passing tone between the tonic and other scale degrees that fall in the tonic chord (1, 3, and 5).
• Use it before or after the tonic for stepwise motion.
• If at the end of the phrase, resolve the supertonic down by step to the tonic.
• Skipping to the dominant (scale degree 5) or leading tone (scale degree 7) can also be melodically and harmonically impactful.

Mediant (3)

• not as strong as the tonic or dominant,
• can help establish tonality when used by scale degrees 1 and 5
• Follow the supertonic with the mediant for stepwise motion
• You can start the phrase on the mediant, but it is not recommended to end the phrase on the mediant.

Tendency Tones

The half steps included in the major scale step pattern create tendency tones. Tendency tones are pitches in a scale, melody, or chord that have a natural inclination to resolve to a different note or scale degree Essential in establishing tonality because they help make the tonic sound stronger as the central pitch within the key.

Subdominant (4)

• Tendency Tone - resolves to 3
• Functions as a passing tone from lower scale degrees (1,2, and 3) to the dominant.
• Follow the subdominant with the mediant if toward the tonic.

Dominant (5)

• use the dominant note in combination to the tonic
• may not want to use more dominant notes than tonic notes in your melody - can sound like modulation
• Leap up to the dominant (5) from the tonic (1) and resolve down by step to the subdominant (4).
• Leap down to the dominant (5) from the tonic (1) and resolve up to the submediant (6).
• Descend by step from the dominant (5) to the tonic (1) at the end of the phrase.

Submediant (6)

• minor scale can be created starting on sixth scale degree - use carefully to avoid sounding like a modulation
• can shift the mood to something more minor sounding.
• Resolve up by step first with the leading tone (7) as a passing tone, then to the tonic (1).
• Use the submediant to expand the tonic area as the submediant chord (6, 1, 3) contains the tonic.
• Resolve the submediant down to the dominant (5) if toward the beginning or middle of the phrase.

Leading Tone (7)

• Tendency Tone - resolves to 1
• Can pair with notes of the dominant chord (5, 7, 2) as well.

• Strong inclination to resolve to the tonic (1)

minor Scale Degrees

Because minor keys have only a few different scale degrees in the lowered 3rd, 6th, and 7th, we will talk about those as well!

Lowered Mediant (b3)

• The minor third is incredibly important in establishing that the piece is in minor mode.
• Changes the tonic chord from Major (1, 3, and 5) to minor (1, ♭3 and, 5).
• In minor mode, the scale degrees around the mediant, the supertonic, and subdominant, are unstable and have a tendency to want to resolve to the lowered mediant.

Lowered Submediant (b6)

The lowered submediant (♭6) is a tendency tone in minor mode. It has a strong tendency to want to resolve to the dominant (5) by half step.

Subtonic (b7)

• The subtonic is the seventh scale degree in minor mode.
• The subtonic (♭7) is a tendency tone like the leading tone (7), but it is not as strong.
• The subtonic (♭7) resolves by a whole step to the tonic, which is not as strong of a resolution as the leading tone (7), which resolves by half a step to the tonic.

Subtonic (b7) vs. Leading Tone

Tendency Tones in Minor

• Scale degrees 2, 4, b6, and b7 are all tendency tones in minor mode.

• Resolves supertonic (2) down to the tonic (1)
• Resolve subdominant (4) down to the lowered mediant (b3)
• Resolve the lowered submediant (b6) down to the dominant (5)
• Resolve the subtonic (b7) up to the tonic (1) or down to the lowered submediant (b6).

Tendency Tones in Minor

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Summary

In today’s lesson, you:

• Defined scale degrees.
• Related scale degrees to scale patterns of major and minor keys.

In the next lesson, we will talk about key signatures.