Home / Learning Library / Music Theory / Other Scales
Chapter 4 · Lesson 07
Not every scale has seven notes. The pentatonics have five, the blues six, the whole-tone six equal ones, and the chromatic all twelve. Five scales you hear everywhere, from rebetiko to rock, and what makes them work.
Take the major scale and remove the two notes that make its semitones, the 4th and the 7th. Five remain: C D E G A. That is the major pentatonic. With no semitones, no note "rubs" against its neighbour, which is why the pentatonic sits on almost any chord of the key and is the first scale people learn to improvise with.
The same with the natural minor: remove the 2nd and the 6th and the minor pentatonic remains, C E♭ F G B♭. The two pentatonics are relatives, like major and minor: A minor pentatonic has exactly the notes of C major pentatonic.
The blues scale is the minor pentatonic with one extra note: the diminished 5th (in C: F♯), between the 4th and the 5th. That one note, the "blue note", gives all the colour.
The whole-tone scale has six notes, all a tone apart: C D E F♯ G♯ A♯. Because all its intervals are the same, it has neither a leading note nor a clear tonic: it sounds suspended, dreamlike, which is how film music uses it. There are only two whole-tone scales, one from C and one from C♯, and every other is one of those two.
The chromatic scale has all twelve notes, all a semitone apart. It is not the scale of a piece; it is the material every other scale is built from. On the bouzouki it is also the simplest under the hand: one fret per note.
Bring what you have been practicing to your next lesson. We can work on the sound, technique and musical questions together.

