§ No. 01 / 06Voice
Scales & melody
The vocabulary of a key, and the melodies you build from it.
§ the reading
The vocabulary of a key, and the melodies you build from it.
In truth, musical scales are the sprawling foundation on which nearly all western music rests. Scales are the materials with which all the best composers compose. They build necessary dexterity in the fingers and lips of musicians everywhere. And they provide vital guide rails for the creation of even the simplest melodies.
Scales can be effectively and succinctly defined as:
Scale: a predetermined set of notes in series
These predetermined sets of notes are taught to most beginning students, starting with the common major scale. However, the scope of musical scales in the west goes far beyond this initial scale. From minors, to half-diminished, to bebop, to modes, to altered scales, it is a world that requires years to master.
This consequently begs the question, why master such seemingly arbitrary “series of notes”? Well, we have already listed several reasons above, several of which are concerned with the same fundamental aspect of music: melody.
There is a wonderful and inherent space where scales and these melodies overlap. Even those outside the academic musical world could describe melody. An attempt at a definition can be offered:
Melody: a phrase made up of intentionally chosen notes played in a particular rhythm, meant to be primarily remembered over other pieces of a composition
These melodies never appear in a musical or intellectual vacuum. Most frequently, they are formed with two main restrictions, pre-applied by the composer. First and most importantly, the feeling the melody is meant to evoke, and secondly and subsequently, the scale chosen in which to create the melody. So, if one were to sit at the piano and wished to devise a supremely dark, brooding melody, and yet had a scale repertoire containing naught but major scales ands bebop scales, they would be extremely hard put to produce anything near their original aims. The more scales in a musician’s proverbial tool belt, the more versatile an accompanist, player, and composer they will be. For practice and composing purposes, here is a decidedly non-comprehensive list of scale types AND their frequently evoked moods. Note that there is significant overlap, as well as the fact that these are very loose, suggestive guidelines, meant to be broken and expanded upon.
Now, seeing as every one of these scales is different, AND that they all exist in twelve different keys, becoming comfortable with them as learning tools, let alone composing tools, could be quite daunting. Overcoming this understandably daunting nature of scales really requires two practice disciplines.
The first is truly the simple, yet often drudgery practice of scale drills, with special emphasis on consistency of practice rather than intensity or scope of practice. Playing through a specific set of scales every day will impart comfort and proficiency to your fingers faster than any other method of practice.
The second is indeed a practice discipline, but one that is far easier for us humans to initiate. It is the discipline of keeping practice interesting at worst and fun at best. How can this be accomplished? By:
These two disciplines are rarely any good on their own, however, and must be coupled at least with each, if not with the guidance of a teacher or learning course.
Music is built on melody, and melody is built on scales. Whether you read this as a composer, session player, professional, amateur, performer, teacher, or totally, brand-new beginner, you must learn your scales. Memorizing these sets of seemingly arbitrary notes is simple to start, and a joy to pursue. Start drilling your scales today, and your musical future will thank you.