Music Theory Scales, Keys, and Intervals Syllabus

Scales, Keys, and Intervals syllabus — full chapter and topic list

Expand any chapter to see its topics and sub-topics. This is the whole examinable outline for Scales, Keys, and Intervals in Music Theory, not a summary of it.

1. 1

   The Major Scale

   4 topics

   • Whole and Half Step Construction
   • The Major Scale Pattern
   • Scale Degrees and Solfege
   • Tetrachords
2. 2

   Minor Scales

   4 topics

   • Natural Minor
   • Harmonic Minor
   • Melodic Minor
   • Relative and Parallel Minor
3. 3

   Key Signatures and the Circle of Fifths

   4 topics

   • Order of Sharps and Flats
   • Identifying Major Key Signatures
   • Identifying Minor Key Signatures
   • The Circle of Fifths
4. 4

   Intervals

   6 topics

   • Interval Number and Quality
   • Perfect, Major, and Minor Intervals
   • Augmented and Diminished Intervals
   • Interval Inversion
   • Consonance and Dissonance
   • Compound Intervals
5. 5

   Modes and Other Scales

   3 topics

   • The Church Modes
   • Pentatonic and Blues Scales
   • Chromatic and Whole-Tone Scales

Scales, Keys, and Intervals flashcards for Music Theory

20 of 50 cards from the Scales, Keys, and Intervals deck — real questions with worked answers.

1. In music theory, what is a half step (semitone)?

   The smallest interval in Western music: the distance from one pitch to the very next adjacent pitch (e.g., E to F, or C to C#). On a piano it is the distance between two immediately adjacent keys, white or black. It equals $\frac{1}{12}$ of an octave in equal temperament.

2. What is a whole step (whole tone), and how many half steps does it contain?

   A whole step is an interval equal to $2$ half steps — two semitones combined (e.g., C to D, or E to F#). On a piano, a whole step skips exactly one key in between.

3. Between which two pairs of natural (white-key) notes do half steps occur naturally in the musical alphabet?

   Between E–F and B–C. All other adjacent natural notes (C–D, D–E, F–G, G–A, A–B) are a whole step apart.

4. What is the step pattern (formula) of the major scale?

   W–W–H–W–W–W–H (whole, whole, half, whole, whole, whole, half), starting from the tonic.

5. Between which scale degrees do the half steps occur in a major scale?

   Between scale degrees $\hat{3}$–$\hat{4}$ and $\hat{7}$–$\hat{8}$. All other adjacent degrees are whole steps apart.

6. Apply the major scale pattern to build the D major scale. Which notes result?

   D–E–F#–G–A–B–C#–D. Applying W–W–H–W–W–W–H from D requires raising F to F# and C to C#, giving a key signature of two sharps.

7. Name all seven scale degree names in order from $\hat{1}$ to $\hat{7}$.

   $\hat{1}$ tonic, $\hat{2}$ supertonic, $\hat{3}$ mediant, $\hat{4}$ subdominant, $\hat{5}$ dominant, $\hat{6}$ submediant, $\hat{7}$ leading tone (or subtonic when a whole step below tonic).

8. What are the solfege syllables for the seven degrees of the major scale (movable do)?

   Do, Re, Mi, Fa, Sol, La, Ti — returning to Do at the octave. Do is always the tonic in movable-do solfege.

9. Why are the 5th and 4th scale degrees called "dominant" and "subdominant"?

   The dominant ($\hat{5}$) lies a perfect 5th above the tonic and is the most important degree after the tonic. The subdominant ($\hat{4}$) lies a perfect 5th below the tonic — "sub" means it mirrors the dominant underneath, not that it sits just below the dominant.

10. What is the difference between a leading tone and a subtonic?

    Both are the 7th scale degree. It is a leading tone when it lies a half step below the tonic (as in major and harmonic minor), creating a strong pull to resolve upward. It is a subtonic when it lies a whole step below the tonic (as in natural minor).

11. What is a tetrachord?

    A four-note scale segment spanning a perfect 4th. A major tetrachord follows the pattern W–W–H (whole, whole, half).

12. How is a major scale constructed from tetrachords?

    A major scale consists of two identical major tetrachords (each W–W–H) joined by a connecting whole step: (W–W–H) + W + (W–W–H).

13. What relationship between major scales does the tetrachord structure reveal?

    The upper tetrachord of any major scale is the lower tetrachord of the major scale a perfect 5th higher (e.g., C major's upper tetrachord G–A–B–C begins G major). This chain of shared tetrachords generates the circle of fifths.

14. What is the step pattern of the natural minor scale?

    W–H–W–W–H–W–W (whole, half, whole, whole, half, whole, whole), with half steps between degrees $\hat{2}$–$\hat{3}$ and $\hat{5}$–$\hat{6}$.

15. Which scale degrees of the natural minor scale differ from its parallel major scale, and how?

    Degrees $\hat{3}$, $\hat{6}$, and $\hat{7}$ are each lowered by a half step compared with the parallel major (e.g., C major's E, A, B become Eb, Ab, Bb in C natural minor).

16. How is the harmonic minor scale formed from the natural minor scale?

    By raising the 7th degree a half step (both ascending and descending). This creates a leading tone a half step below the tonic (e.g., A harmonic minor: A–B–C–D–E–F–G#–A).

17. Why is the 7th degree raised in the harmonic minor scale?

    To create a leading tone that pulls strongly to the tonic and to make the dominant chord (V) major, producing a convincing V–i cadence in minor keys — hence the name "harmonic" minor.

18. What distinctive interval appears in the harmonic minor scale, between which degrees, and how large is it?

    An augmented 2nd between $\hat{6}$ and $\hat{7}$ (e.g., F to G# in A harmonic minor), spanning $3$ half steps — the interval that gives the scale its exotic sound.

19. How does the melodic minor scale differ ascending versus descending?

    Ascending: raise both $\hat{6}$ and $\hat{7}$ a half step (e.g., A–B–C–D–E–F#–G#–A). Descending: revert to natural minor with $\hat{6}$ and $\hat{7}$ lowered again (A–G–F–E–D–C–B–A).

20. What melodic problem does the melodic minor scale solve?

    It eliminates the awkward augmented 2nd between $\hat{6}$ and $\hat{7}$ of harmonic minor: raising $\hat{6}$ along with $\hat{7}$ ascending gives smooth whole steps while keeping the leading tone; descending, no leading tone is needed, so natural minor is used.

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