Heptatonic Scale – A Quick Guide
Heptatonic Scale
The heptatonic scale is a seven-note musical scale that is used in a wide range of musical genres and styles.
This scale is the foundation of much of Western music and is an essential tool for any musician or composer to understand.
In this blog post, we will explore the heptatonic scale in detail. So we will be looking at its history, structure, and applications in music theory and composition.
What Is the Heptatonic Scale?
A heptatonic scale comprises seven distinct pitches. It is also known as a seven-note scale or seven-tone scale.
The term Hepta is a Greek word. In Greek, “hepta” means “seven”, therefore a scale composed of seven notes is called a heptatonic scale.
Heptatonic scale, or mode, is based on seven pitches to the octave. The most recognisable examples of heptatonic scales in Western music are the major and minor scales.
Examples include the major scale or minor scale; e.g., in C major: C D E F G A B C; and in the relative minor, A minor, natural minor: A B C D E F G A. Also, the melodic minor scale is: A B C D E F♯ G♯ A ascending, A G F E D C B A descending. Moreover, we can consider the harmonic minor scale, A B C D E F G♯ A.
Nonetheless, there are various other types of seven-tone scales in existence.
For example, mediaeval church modes utilised seven tones, each with its own unique pattern of whole and half steps.
Similarly, some European folk music incorporates scales that bear resemblance to the mediaeval modes.
There is also a scale variously known as the Byzantine or Hungarian scale, C D E♭ F♯ G A♭ B C.
History of the Heptatonic Scale
The heptatonic scale has a long and rich history that dates to ancient civilizations.
It is believed that the scale was first developed by the ancient Greeks, who used it in their musical compositions and performances.
Over time, the heptatonic scale evolved and spread throughout Europe, becoming the standard for much of Western music.
Structure of the Heptatonic Scale
The heptatonic scale consists of seven notes that are arranged in a specific pattern of whole steps and half steps.
This pattern is what gives the heptatonic scale its unique sound and character.
Thus, it is essential to understand how it is used in music.
The most common heptatonic scale is the major scale, which is made up of the following pattern of whole steps and half steps:
Whole – Whole – Half – Whole – Whole – Whole – Half
This pattern creates a scale that has a bright and uplifting sound and is often used in pop, rock, and classical music.
We also have other types of heptatonic scales in music. These are scales like the minor scale, the harmonic minor scale, and the melodic minor scale.
All these scales have their own unique patterns of whole steps and half steps.
Primary Heptatonic Scales
Now let’s discuss primary heptatonic scales, also known as “heptonia prima” or the “diatonic scale.”
These scales use only half-steps and full-steps (semitones and tones) between adjacent notes, and the half-steps are spread out as evenly as possible.
In fact, the half steps only occur twice, and there are always either two or three full steps between them.
Example Of Primary Heptatonic Scales
The natural minor and major scales are both examples of primary heptatonic scales.
For instance, let’s take a look at the major scale in C, where we have the following notes: C, D, E, F, G, A, B.
The intervals between these notes are W,W,H,W,W,W,H. Notice that there are two intervals of one semitone between notes E and F and between notes B and C.
Thus, if we move up from F, we will encounter three intervals of two semitones between F and G, G and A, and A and B before the next interval of one semitone.
Similarly, if we move up from C, we will find two intervals of two semitones between C and D and between D and E before the next interval of one semitone.
To put it simply, Heptonia Prima is a type of seven-note scale that is constructed using both tones and semitones. However, it has one key restriction: no two semitones can appear in a row.
This means that the scale is structured in such a way that it avoids the presence of consecutive semitones.
Primary Heptatonic Scale Modes
Let’s now take a closer look at the different modes that can be built from the primary heptatonic scale.
To do so, we can use the example of the C major scale we have previously discussed. Also, we will build a new heptatonic scale by starting from each of its different notes.
Consequently, we will have the following modes:
Ionian Mode
Firstly, we have the Ionian mode, also known as “major”, which is built on the tonic of the major scale (the first note). In this mode, the steps are W, W, H, W, W, W, H (C, D, E, F, G, A, B in this example).
Dorian Mode
Secondly, we have the Dorian mode, built on the supertonic of the major scale (the second note). This mode has steps W, H, W, W, W, H, W, and is the only one that is symmetric going up and down (D, E, F, G, A, B, C in this example).
Phrygian Mode
Thirdly, we have the Phrygian mode, built on the mediant of the major scale (the third note). This mode has steps H, W, W, W, H, W, W (E, F, G, A, B, C, D in this example).
Lydian Mode
Fourthly, we have the Lydian mode, built on the subdominant of the major scale (the fourth note).
This mode has steps W, W, W, H, W, W, H (F, G, A, B, C, D, E in this example).
Mixolydian Mode
Fifthly, we have the Mixolydian mode, built on the dominant of the major scale (the fifth note).
This mode has steps W, W, H, W, W, H, W (G, A, B, C, D, E, F in this example).
Aeolian Mode
Sixthly, we have the Aeolian mode, also known as “natural minor” or the “melodic descending minor.”
This mode is built on the submediant of the major scale (the sixth note) and has steps W, H, W, W, H, W, W (A, B, C, D, E, F, G in this example).
Locrian Mode
Lastly, we have the Locrian mode, built on the leading tone of the major scale (the seventh note). This mode has steps H, W, W, H, W, W, W (B, C, D, E, F, G, A in this example).
Secondary Heptatonic Scales
This is also known as Heptonia secunda scales. These scales are seven-note scales that use both whole and half-step intervals.
However, Heptonia secunda are not as strictly defined as the primary heptatonic scales.
In contrast to primary heptatonic scales, secondary heptatonic scales allow for one or four full steps between two occurrences of half-steps.
So, instead of the two or three full-step intervals found in primary heptatonic scales, we can have one or four full-step intervals occurring between two half-step intervals.
Example Of Secondary Heptatonic Scales
A common example of a secondary heptatonic scale is the melodic ascending minor scale. Specifically, this scale is formed by altering the sixth and seventh notes of the natural minor scale.
In the key of C, the melodic ascending minor scale would be C, D, Eb, F, G, A, B. This can also be thought of as a heptonia secunda scale built on the submediant of the C major scale.
Therefore, if we ascend from C, we will find only one interval of two semitones. This is between C and D, before we get to the next interval of one semitone.
However, if we ascend from Eb, we will find four intervals of two semitones. These are between “Eb and F”, “F and G”, “G and A”, and “A and B—before we get to the next interval of one semitone.
To see how the melodic ascending minor scale relates to the C major scale, we can compare the intervals between each note of the two scales.
The C major scale has the following pattern of intervals: whole, whole, half, whole, whole, whole, half, or C, D, E, F, G, A, B, C.
In contrast, the melodic ascending minor scale built on the submediant of C has the following pattern of intervals: whole, half, whole, whole, whole, whole, half, or A, B, C, D, E, F#, G#, A.
As you can see, the melodic ascending minor scale uses the same notes as the C major scale. However, it uses it with a different pattern of intervals.
This creates a different tonality and feeling in the music.
In particular, the melodic ascending minor scale has a more melancholic or “minor” sound. This is not the same as the bright and happy sound of the C major scale.
Other Examples Of Secondary Heptatonic Scales
Other examples of heptonia secunda scales include the harmonic minor scale. Specifically, this scale raises only the seventh scale degree.
We also have different modes of the harmonic and melodic minor scales. This uses different combinations of whole and half-step intervals.
These scales provide composers with a wider range of melodic and harmonic possibilities, allowing for more complex and interesting musical compositions.
Secondary Heptatonic Scale Modes
In the study of music theory, the modes of the secondary heptatonic scale are an important topic to understand.
Like primary heptatonic scales, these modes can be derived by starting from each of the notes in the melodic ascending minor on C, which we have listed above.
Melodic Ascending Minor Mode
The first mode is the Melodic Ascending Minor mode. This mode is characterised by steps of W, H, W, W, W, W, H (C, D, Eb, F, G, A, B in this example).
Phrygian Mode
The other modes include the Phrygian mode with a raised sixth. It is by H, W, W, W, W, H, W like we have in this example: D, Eb, F, G, A, B, C.
Lydian Mode
Another mode is the Lydian mode with a raised fifth (Eb, F, G, A, B, C, D). Lydian mode is characterised by the following steps W, W, W, W, H, W, H. This is in the example below: Eb, F, G, A, B, C, D.
Lydian-Mixolydian Mode
We also have the Lydian-Mixolydian mode also known as “acoustic”. This scale has W, W, W, H, W, H, W steps, and F, G, A, B, C, D, Eb is an example.
“Major-Minor” Mode
There is a Minor with a raised third mode, thus also known as “major-minor” mode. The major-minor mode has the steps W, W, H, W, H, W, W. The examples are G, A, B, C, D, Eb, F.
Locrian Mode
The Locrian with a raised second is another secondary heptatonic scale mode. It is characterised by the following steps: W, H, W, H, W, W, W. The A, B, C, D, Eb, F, G show us examples of this mode.
Lastly, there is a Locrian with a flat fourth. This mode is also known as “altered” and is characterised by H, W, H, W, W, W, W steps. The typical example of Locrian with a flat fourth is B, C, D, Eb, F, G, A.
Note
However, it is worth noting that the secondary heptatonic scales are used less frequently than the primary scales. The reason is that they allow for augmented and diminished chords.
For instance, the natural melodic minor C, D, Eb, F, G, A, B produce the Eb augmented chord Eb, G, B.
It also produced the G augmented chord G, B, Eb, and the B augmented chord B, Eb, G.
All of the chords contain the same notes and therefore do not offer a clearly defined tonal centre.
Applications of the Heptatonic Scale
The heptatonic scale is used in a wide range of musical applications. Its usage ranges from melody writing to chord progressions and harmonies.
One of the most common uses of the heptatonic scale is in melody writing. This is basically where the notes of the scale are used as a basis for creating a memorable and catchy melody.
In addition to melody writing, the heptatonic scale is also used in chord progressions and harmonies.
By using the notes of the scale to build chords and harmonies, musicians and composers can create rich and complex musical textures. This basically adds depth and emotion to their compositions.
Another important application of the heptatonic scale is in music theory and analysis.
Understanding the structure of the scale and its various patterns of whole steps and half steps allows musicians to be creative about their works.
Basically, it helps musicians and composers gain a deeper understanding of how music works. It can also teach them how to use it to express themselves creatively.
So, the heptatonic scale is a valuable resource that can help us unlock our creative potential and express ourselves through music.
Heptatonic Scales Lesson Summary
In music theory, heptatonic scales refer to musical scales that have seven pitches per octave.
The most commonly used heptatonic scales are the major and minor scales. These scales are made up of whole and half steps in a specific pattern.
Other heptatonic scales include the modes, which are derived from the major and minor scales. We also have the secondary modes, which are derived from the melodic ascending minor scale.
Each heptatonic scale has a unique pattern of whole and half steps, which results in a distinct musical character and tonality.
So, understanding the different heptatonic scales is crucial for music composition, improvisation, and analysis.
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