Scale Formulas & Intervals
The interval structure of the most used scales: whole/half step patterns, semitone offsets, and example notes starting from C.
| Scale | Steps | Semitones | Example from C |
|---|---|---|---|
| Major (Ionian) | W–W–H–W–W–W–H | 0–2–4–5–7–9–11 | C, D, E, F, G, A, B |
| Natural Minor (Aeolian) | W–H–W–W–H–W–W | 0–2–3–5–7–8–10 | C, D, E♭, F, G, A♭, B♭ |
| Harmonic Minor | W–H–W–W–H–W+H–H | 0–2–3–5–7–8–11 | C, D, E♭, F, G, A♭, B |
| Melodic Minor | W–H–W–W–W–W–H | 0–2–3–5–7–9–11 | C, D, E♭, F, G, A, B |
| Dorian | W–H–W–W–W–H–W | 0–2–3–5–7–9–10 | C, D, E♭, F, G, A, B♭ |
| Phrygian | H–W–W–W–H–W–W | 0–1–3–5–7–8–10 | C, D♭, E♭, F, G, A♭, B♭ |
| Lydian | W–W–W–H–W–W–H | 0–2–4–6–7–9–11 | C, D, E, F♯, G, A, B |
| Mixolydian | W–W–H–W–W–H–W | 0–2–4–5–7–9–10 | C, D, E, F, G, A, B♭ |
| Locrian | H–W–W–H–W–W–W | 0–1–3–5–6–8–10 | C, D♭, E♭, F, G♭, A♭, B♭ |
| Major Pentatonic | W–W–W+H–W–W+H | 0–2–4–7–9 | C, D, E, G, A |
| Minor Pentatonic | W+H–W–W–W+H–W | 0–3–5–7–10 | C, D♯, F, G, A♯ |
| Blues | W+H–W–H–H–W+H–W | 0–3–5–6–7–10 | C, D♯, F, F♯, G, A♯ |
How to read scale formulas
W stands for a whole step (2 semitones) and H for a half step (1 semitone). The major scale is W–W–H–W–W–W–H. Start on any note and apply the pattern to build the scale in that key.
The seven modes are rotations of the major scale: Dorian starts on its 2nd degree, Mixolydian on the 5th, and so on. Pentatonic scales use five of the seven notes, and the blues scale adds a chromatic ‘blue note’ to the minor pentatonic.
Frequently asked questions
What is the formula for a major scale?
W–W–H–W–W–W–H: whole, whole, half, whole, whole, whole, half. In semitones from the root: 0, 2, 4, 5, 7, 9, 11.
What are modes?
Modes are scales built by starting the major scale from each of its seven degrees. Ionian is the major scale itself, Aeolian is the natural minor, and Dorian, Phrygian, Lydian, Mixolydian and Locrian each have their own characteristic color.
What makes the blues scale different?
The blues scale is a minor pentatonic scale plus a ‘blue note’ — the flattened fifth (0–3–5–6–7–10). That extra chromatic note gives blues and rock solos their distinctive sound.
