Pete wrote:
> While this topic is alive, let me ask a related question that has been
> bugging me for years.
>
> Why is the tonic of the "all white notes" major scale "C" and not "A"?
> As far as I understand it, the diatonic scale derives (probably both)
> from the logic of harmonics, and the circle of fifths, so that pattern
> is fairly basic to our Western music. So, given that it exists, and it
> has a tonic, why didn't we label the scale ABCDEFG(A), with C-D and G-A
> being the semitones? How did a minor scale come to be ABCDEFG? (A
minor
> third desn't fit into the circle of fifths, does it?)
>
> Another thing that offends my sense of rightness (:-) is that to get the
> scale from fifths, you have to start on the subdominant. I realize that
> this is how the math works, to get those 'low ratios', but naively it's
> odd. I suppose it's logical that the tonic should be the one that
> shares the two fifths, though.
>
> -- Pete --
>
C is only the central tone in music where a composer/musician has made
it to feel that way.
The diatonic scale has the potential for at least 6 different tonal
centers (or 7 depending on who you talk to and what you mean by tonal
center).
When C is made to feel as if it's the tonal center (aka place of rest),
and the music is based on 3rds (tertian music is the norm in Western
musical traditions), then one of the reasons that it is referred to as
"the C major scale" has to do with the fact that the tertian triad built
on C is a major triad.
When A is made to feel as if it's the tonal center (aka place of rest),
then one of the reasons that it is referred to as "the A minor scale"
has to do with the fact that the tertian triad built on A is a minor
triad.
But also examine the intervals in the diatonic scale.
There are two types of second interval, one large (2 semitones) and one
small (1 semitone). We call the large one a "major" 2nd interval and the
smaller one a "minor" 2nd interval.
Ditto for 3rds, 6ths and 7ths.
When C is the tonal center we have major triads on C, as well as a P5th
above C (on G), and a P5th below C (on F).
There's something about this relation****p that aids greatly in putting a
listener's ear on C and Cmaj as a tonal center of sorts.
This is another one of the reasons why this scale, when starting on C,
is often called "the major scale".
When A is the tonal center we have minor triads on A, as well as a P5th
above A (Em), and a P5th below A (Dm).
There's something about this relation****p that aids greatly in putting a
listener's ear on A and Am as a tonal center of sorts. Although
traditionally the Em chord is converted to E7 to help make the tonal
center on A feeling stick even more.
This is another one of the reasons why this scale, when starting on A,
is often called "the minor scale".
Why they named the first note in the series of P5ths F is because it's
the only way that makes sense.
See what happens if you start with something else.
Eg. A E B ? ? ? ?
And just so you know, for many centuries, C was not popularly used as
the central tone of this scale. I'm told that tonal centers on D (aka
Dorian) were the norm for hundreds of years prior to the emergence of
the C major scale.
--
Joey Goldstein
<http://www.joeygoldstein.com>
<http://homepage.mac.com/josephgoldstein/AudioClips/audio.htm>
joegold AT sympatico DOT ca
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