Topic 1.4 Major Scales and Scale Degrees: construct a major scale using the whole and half step pattern, and identify scale degrees by number, name and solfege.

What this topic is asking

The College Board (Topic 1.4) wants you to construct any major scale from its fixed pattern of whole and half steps, to spell it using each letter name once, and to identify scale degrees by number (1 to 7), by functional name (tonic to leading tone), and by movable-do solfege.

The major scale pattern

For C major the pattern uses only white keys: C D E F G A B C, with the natural half steps E to F (degrees 3 to 4) and B to C (degrees 7 to 8) landing exactly where the pattern requires. For any other tonic you add sharps or flats to preserve the same W W H W W W H pattern, always keeping consecutive letter names.

Scale degree numbers and functional names

Each degree has a number and a traditional name describing its function:

• 1 tonic (the home note)
• 2 supertonic
• 3 mediant
• 4 subdominant
• 5 dominant
• 6 submediant
• 7 leading tone (a half step below the tonic, pulling up to it)

The leading tone is especially important because it is only a half step below the tonic and strongly wants to resolve up to it, which drives much of tonal harmony.

Movable-do solfege

The half steps in solfege are mi to fa and ti to do, matching the major-scale half steps between degrees 3 and 4 and degrees 7 and 8.

Why the pattern, not the notes, defines major

The central idea is that "major" is a pattern of intervals, not a particular set of pitches. C major and E major share no key apart from the abstract shape W W H W W W H; what makes both sound major is the position of the two half steps. This is why you can transpose a melody to any key and keep its character: the scale degrees and their step relationships stay fixed even though every pitch changes. It also explains why correct spelling matters so much. To preserve the pattern in a key like F sharp major you must use B sharp rather than C, because the seventh degree above A sharp must be a letter-B note that is a half step below the tonic, so the leading-tone half step lands correctly. Hearing and labelling music by scale degree, rather than by absolute pitch, is the foundation of the aural and written skills the whole course assesses.

Building a scale by hand

To construct a major scale, write the seven letter names in order starting on the tonic, then apply the W W H W W W H pattern by adding accidentals. Anchor on the two guaranteed natural half steps (E to F and B to C) and check each adjacent pair: where the pattern wants a half step but the letters give a whole step, lower the upper note (or raise to fit); where it wants a whole step but the letters give a half step, raise accordingly. Finish by confirming each letter appears once and the two half steps land between degrees 3 to 4 and 7 to 8.

Try this

Q1. Which two scale degrees are separated by a half step at the bottom of the scale? [1 point]

• Cue. Degrees 3 and 4 (mi to fa); the other half step is between degrees 7 and 8 (ti to do).

Q2. Name the functional title of scale degree 5 and describe its role. [2 points]

• Cue. The dominant; it is a perfect fifth above the tonic and is the most important degree after the tonic in establishing the key.