 Hi guys. This is Jason here from the Nathaniel School of Music and in this tutorial, let's learn how to form scales beyond the major scale. The major scale is something you would have probably used and heard of and been able to form with all the theory, circle of fifths and what not. But let's look at other scales. There's a lot more to learn. So let's get started right away. And before we do, it'll be great if you could subscribe to our YouTube channel, give us a thumbs up and all those other nice things. Okay, so let's get started. G major is what I'm going to choose or G as the home base or the root or the sa if you're learning Indian music or the tonal center. You have all sorts of words for it. I may just call it the root or the sa or whatever. Okay, so let's first build the G major scale together. Okay, so a scale is actually formed with a collection of intervals. Okay, you may argue, yeah, it's a collection of sounds rather it's a collection of notes. But I would prefer to say intervals because an interval is the sound of a sound created when two musical notes are observed together by the human ear. So if you take G and then cluster it with maybe the D, you're hearing D with reference to G or because of G. That's why we respect that root note as the main note of the scale. So G, D. So this is what we call as intervals. Okay, so D is not just a note of the D major scale. It is the fifth of the D major scale. Also, what we call as the perfect fifth. So root fifth. So with pretty much all the scales you would form barring one or two, every scale is going to have a root and the root is going to be one of the 12 keys in music. A A sharp or B flat B C C sharp or D flat D D sharp or E flat E F F sharp or G flat G G sharp or A flat A and so on and so forth. So you will have any scale a scale is an assortment of intervals while a key is one of the 12 ways or one of the 12 routes you can give to that particular scale. So major scale can be played or can be demonstrated or can be performed in 12 keys, because there are 12 notes in music. So if I take the G as one of my roots or one of my tonal centers, the G major scale is formed with a collection of intervals. First off you have the root G which is self-explanatory. It's just the root or the name of the scale and that's the sound you're hearing. Then you have the fifth. So when you're trying to play this fifth, always try to get it with respect to the root. So even you could you could also train your year. Root fifth, Sapa G D and then try to play it. So that's a good challenge. Sing it la la and now play it la la and then see if you're right, which I am luckily. So now the other note which is very very important to build a scale is the third. In this case the third is B. We call it a major third la la G B. Now however you can also alter this third. You can get another tonality by going down a step root minor third. We call that a minor third or a Komal G if you're looking at it in the Indian music theory perspective. So sa and pa or the root and fifth are consistent. You have the G or the third being major third or minor third. You have those variants major third, minor third, G B flat. You see the minor third has a very different emotion. So if you build a scale where the minor third exists, it's going to definitely be a very very different sound. It's going to be a very much more melancholic emotion or maybe sadder or maybe braver. You know, while the major third will be a little bit more uplifting, a little bit more positive and so on and so forth. So what about the other intervals? So in the G major scale, we already have a few more, right? You have the A which is the major second. You have the C which is the perfect fourth. Then you have the E which is the major sixth la la and you have the F sharp. So the F sharp is you could say the most tense of the lot. See, it feels a little uneasy, right? So a major scale seems to give us all these tonalities. You have the root, the fifth, you have the third could also count the octave which is G to G. So those are what we call as your resolutions. Those are the intervals which sound stable to the ear. It just feels normal or not so uneasy. And then you have what we call as the anticipations which are the major second. See, it feels like it's a bit unstable, but not very chaotic and not so annoying or not so tense or not so scary. Similarly, you have the perfect fourth, which again is nice, but still unstable because it wants to go to the third. Then you have the sixth, which tends to resolve to the fifth. And then you have the seventh, which is also, it's a little, it's a lot more tense, but you can resolve it. So you can always resolve these anticipations or tensions, as I call them, to some other note which will end up being a resolution. So let's recap major scale intervals, root, fifth, third. These are all your resolutions. Then we have your anticipations, major two, perfect fourth, major sixth, major seventh, of course that's the octave. So if we have to just practice singing them, G D, that's the perfect fifth. G D, G B, that's the major third, the third, all resolutions. Now if I do the anticipations, G C, Sama and then Re, Sare major 2nd, Sare perfect 4th again, Sama perfect 4th, Resolving to the major 3rd, 6th, Sadha major 6th, Resolving to the perfect 5th and lastly major 7th, Resolving to the octave if you will. Now the major scale already provides us with so many intervals. Now we want to go beyond that's what this lesson is about. So if you take just the first 5 notes, let's just study the first 5 notes, G, A, B, C, D, C, B, A, G, these are all the major scale notes for the first 5 notes. Now let's mess with this a bit and create a few more options for us which will build us new scales. So if you take major scale, let's mess with the 3rd which is now the major 3rd B. How do I change that? I could convert it to the minor 3rd which is B flat. Immediately you get a more melancholic or a little more sadder kind of a feeling. So that's your minor 3rd. How do you form it? Major 3rd down a step. So the assumption here is please know your major scales or I hope that you know your major scales when you are following through this lesson. So major 3rd, minor 3rd. Got that? Try to write it down for all the other keys as well. That will be very helpful. And then you'll also have the major 2nd which can become a minor 2nd which is quite cool. So now you could combine that major 2nd with minor 2nd with other permutations of the 3rd, the 4th and the 5th. So if I take major scale, now if I alter the 2nd, immediately you get a very different tonality. It almost feels as though this music is coming from the East as opposed to the West which this seems to come from the West while it's more like the Middle Eastern kind of sound. Very beautiful. And if you combine that with the minor 3rd, what is the minor 3rd again? Bb. So the minor 2nd A becomes Ab. Very tense but very beautiful at the same time. So you go, you may also remember, you can build a lot of interesting riffs and phrases with that interval. So what if we combine a minor 2nd with a minor 3rd? Sounds very Egyptian or very Spanish I guess. So you're basically trying to play with this. So major 2nd, major 3rd by the book becoming minor 3rd, becoming minor 2nd. And what we do with the 4th which is C is you can't bring it down because if you bring it down a step as we learn in a major scale, the major scale has no gaps between the 3rd and the 4th note, between the G and the M. There's no gap. So you can't really flatten the 4th, you sharpen the 4th. So I will sharpen the C to C sharp. So whenever you flatten something in Indian music we say Komal, you're going down by 1. Whenever you sharpen something we say Thivra, where you sharpen it. It becomes very dreamy and very mystical. So this is the major scale with a sharp 4. But then you can also do it with a flat 3 and a sharp 4 or maybe a flat 2, a flat 3 and a sharp 4. Ah, it's quite exciting. Or back to major if you want. Right? So the same thing you can do beyond the 5th. So you want to establish these pillars first, which I think are important. You have your root, you have your 5th and you have your octave. That's your base, it's your home base and now you build around that. So now if you have the major 6th which is part of the major scale, you flatten that to the minor 6th which is very interesting. Similarly, if you have the major 7th which is part of the major scale you can flatten that to the minor 7th. So that's flat 6, flat 7. So flat 7 is like a very Mixolydian sound or with a flat 6. Very Celtic. You see I've already built a 7 note scale which is not major, very unique and very usable. Right? Or you could form maybe. So let's observe what intervals I've used to form this scale. This is major and now what is this? Flat 2 or Komal Re, normal major 3rd, normal perfect 4th, normal perfect 5th. So you get that cluster and then you have minor 6th making it very mysterious major 7th. So we've just, you can consider this scale to be the major scale with a flat 2 and a flat 6. Similarly, you'll have another scale which could be the major scale with a sharp 4. And all these scales which you form, I think if I'm not mistaken there are, well I think there are about 72 such scales which is a ton of them, right? I don't think I've even gone through half of them. I hope I have but man, it's a lot to learn isn't it? So if you're in a shell where you're just using the major scale over and over and over again, because music theory textbook seems to give you all the information with the major scale. You harmonize the major scale, you form the major scale, the circle of fifths is for the major scale. So all your core theory is for the major scale. But why not go beyond? When you can go beyond and when the major scale is just one out of the many, arguably 72 permutations. So in Indian music they call these, in Karnataka they say Mela Kartaragas which are arguably 72 in number or in Hindustani music they call this as the thought system where you build seven note scales and then under that you can build subset scales out of that which are ragas as we say, right? And as always this is Jason here from Nathaniel School of Music and if you like the lesson, please don't forget to share the lesson, turn on that bell icon for notifications, you'll get a lot more lessons coming your way from Nathaniel and also subscribe if you haven't already and what else can you do? You can also share the video. These are all the things you can do to support us, grow our channel and bring more music to all of you people. So hope all of you have a lot of fun with this lesson and I will see you in the next video. Cheers.