Music Scales - Frequency, Notes, Octaves, Tuning, Scales, Modes, Pentatonics, Transforms - Yala Abdullah

## Music Scales

Contents

1. Scales
2. Pentatonics
3. Modal-Pentatonic Transforms
4. Example Application of Transforms
5. Scales Reference
6. Conforming to Classical Notation

### Scales

Musicians compose and play songs. In order to ensure that the song is played correctly, we have to determine which notes are valid. A Scale is a series of notes which we define as "correct" or appropriate for a song. Normally, we only need to define the series within an octave and the same series will be used for all octaves.

A Scale is usually referenced to a "root" note (eg C). Typically, we use notes from the "equal-tempered" tuning comprising 12 notes per octave; C, C#, D, D#, E, F, F#, G, G#, A, A# and B.

For most of us, we will only probably need to know 2 scales: the Major scale; and, the Minor scale. Using a root of "C", the Major scale comprises C, D, E, F, G, A, B while the Minor scale comprises A, B, C, D, E ,F, G. Both of these scales have 7 notes per octave.

Examples of various Scales (Root = "C")
Name | C | Db | D | Eb | E | F | Gb | G | Ab | A | Bb | B | C
--- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | ---
Major | 1 |  | 2 |  | 3 | 4 |  | 5 |  | 6 |  | 7 | 1
Minor (natural) | 1 |  | 2 | 3 |  | 4 |  | 5 | 6 |  | 7 |  | 1
Harmonic Minor | 1 |  | 2 | 3 |  | 4 |  | 5 | 6 |  |  | 7 | 1
Melodic Minor (Asc) | 1 |  | 2 | 3 |  | 4 |  | 5 |  | 6 |  | 7 | 1
Melodic Minor (Desc) | 1 |  | 2 | 3 |  | 4 |  | 5 | 6 |  | 7 |  | 1
Enigmatic | 1 | 2 |  |  | 3 |  | 4 |  | 5 |  | 6 | 7 | 1
Chromatic | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 1
Diminished | 1 |  | 2 | 3 |  | 4 | 5 |  | 6 | 7 |  | 8 | 1
Whole Tone | 1 |  | 2 |  | 3 |  | 4 |  | 5 |  | 6 |  | 1
Pentatonic Major | 1 |  | 2 |  | 3 |  |  | 4 |  | 5 |  |  | 1
Pentatonic Minor | 1 |  |  | 2 |  | 3 |  | 4 |  |  | 5 |  | 1
3 semitone | 1 |  |  | 2 |  |  | 3 |  |  | 4 |  |  | 1
4 semitone | 1 |  |  |  | 2 |  |  |  | 3 |  |  |  | 1
Bluesy R&R* | 1 |  |  | 2 | 3 | 4 |  | 5 |  | 6 | 7 |  | 1
Indian-ish* | 1 | 2 |  | 3 | 4 |  |  | 5 | 6 |  | 7 |  | 1

Note - The Melodic Minor is played differently when ascending (Asc) and descending (Desc).
* denotes Names conjured by myself to reflect the mood of the Scales.
For more examples of scales, see the Scales Reference section at the end of this document.

As you can see, there are many scales and there is nothing to stop you from creating your own. After all, scales are just a series of notes. Different cultures have developed different scales because they find some series of notes more pleasing than others.

The prefix "m" denotes mode. Therefore "mF" is Lydian. "Carets" (^) with plus or minus signs denote transposition up and down respectively and is enumerated in semitones. Therefore "mF^-1" is Lydian transposed down one semitone.
A scale can be transformed into the one above it or below it simply by comparing the difference between them. The difference should only be one note.

### Pentatonics

A pentatonic is simply a scale of five notes. A series of any five notes per octave will qualify as a pentatonic scale.

A Major pentatonic in "C" comprises C, D, E, G and A... which is a common scale used by most cultures in the world. This is achieved by removing the 4th and 7th notes.

What is interesting is that if we remove the 4th and 7th notes from the modal scales, we get quite remarkable results. The table below illustrates the modal pentatonics. This time I'm using the "black" notes on the piano.

Modal Pentatonics
Name | from | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# |  | Semitone Jumps
--- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | ---
pC | Ionian | 1 |  | 2 |  | 3 | - |  | 4 |  | 5 |  | - | 1 |  | 2 2 3 2 3
pD | Dorian | 1 |  | 2 | 3 |  | - |  | 4 |  | 5 | - |  | 1 |  | 2 1 4 2 3
pE | Phrygian | 1 | 2 |  | 3 |  | - |  | 4 | 5 |  | - |  | 1 |  | 1 2 4 1 4
pF | Lydian | 1 |  | 2 |  | 3 |  | - | 4 |  | 5 |  | - | 1 |  | 2 2 3 2 3
pG | Mixolydian | 1 |  | 2 |  | 3 | - |  | 4 |  | 5 | - |  | 1 |  | 2 2 3 2 3
pA | Aeolian | 1 |  | 2 | 3 |  | - |  | 4 | 5 |  | - |  | 1 |  | 2 1 4 1 4
pB | Locrian | 1 | 2 |  | 3 |  | - | 4 |  | 5 |  | - |  | 1 |  | 1 2 3 2 4

What do they sound like (my interpretation)?
"pF, pC & pG" are exactly the same and as they are all the Major pentatonic. The major pentatonic is the mainstay of most Folk music.
"pA" is used mainly in Japanese and Balinese music.
"pE" is a popular scale in music from India (also used in Bali).
"pB" sounds like a mix of arab and indian music (or somewhere from Asia minor). You'll have to judge this one yourself.
"pD" sounds very serious indeed. You'll have to judge this one yourself too.

### Modal-Pentatonic Transforms

If we arrange the pentatonics in the same order as the previous one-note transforms, we get the following modal scale transforms:-

One Note Transforms - Comparisons for Modal Pentatonics
Notes | E | F | F# | G | G# | A | A# | B | C | C# | D | D#
--- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | ---
pF | Folk |  |  | 1 |  | 2 |  | 3 |  |  | 4 |  | 5
pC | Folk |  |  | 1 |  | 2 |  | 3 |  |  | 4 |  | 5
pG | Folk |  |  | 1 |  | 2 |  | 3 |  |  | 4 |  | 5
pD | AsiaMin |  |  | 1 |  | 2 | 3 |  |  |  | 4 |  | 5
pA | JapBali |  |  | 1 |  | 2 | 3 |  |  |  | 4 | 5 |
pE | Indian |  |  | 1 | 2 |  | 3 |  |  |  | 4 | 5 |
pB | Serious |  |  | 1 | 2 |  | 3 |  |  | 4 |  | 5 |
pF^-1 | Folk |  | 1 |  | 2 |  | 3 |  |  | 4 |  | 5 |

A scale can be transformed into the one above it or below it simply by comparing the difference between them. The difference should only be one note.

In addition to the above transforms, there are a further set of transforms for the modal-pentatonics. The table below is slightly different as it groups the possible transforms by each pentatonic. These particular transforms involve scale changes ans well as key changes.

More One Note Transforms - Grouped for Modal Pentatonics
Name |  | E | F | F# | G | G# | A | A# | B | C | C# | D | D#
--- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | ---
pFCG | Folk |  | - | - | 1 | - | 2 | - | 3 | - | - | 4 | - | 5
| pFCG^+7 |  |  | 3 |  |  | 4 |  | 5 |  |  | 1 |  | 2
| pFCG^+5 |  |  |  | 4 |  | 5 |  |  | 1 |  | 2 |  | 3
| pB^+1 |  |  |  |  | 1 | 2 |  | 3 |  |  | 4 |  | 5
| pD^+7 |  | 3 |  |  |  | 4 |  | 5 |  |  | 1 |  | 2
| pB^+6 |  |  |  | 4 |  | 5 |  |  |  | 1 | 2 |  | 3
pD | AsiaMin |  | - | - | 1 | - | 2 | 3 | - | - | - | 4 | - | 5
| pA^+7 |  | 3 |  |  |  | 4 | 5 |  |  |  | 1 |  | 2
| pFCG^+5 |  |  |  | 4 |  | 5 |  |  | 1 |  | 2 |  | 3
| pB^+6 |  |  |  | 4 |  | 5 |  |  |  | 1 | 2 |  | 3
pA | JapBali |  | - | - | 1 | - | 2 | 3 | - | - | - | 4 | 5 | -
| pE^+7 |  | 3 |  |  |  | 4 | 5 |  |  |  | 1 | 2 |
| pD^+5 |  |  |  | 4 |  | 5 |  |  | 1 |  | 2 | 3 |
pE | Indian |  | - | - | 1 | 2 | - | 3 | - | - | - | 4 | 5 | -
| pB^+7 |  | 3 |  |  | 4 |  | 5 |  |  |  | 1 | 2 |
| pA^+5 |  |  |  | 4 | 5 |  |  |  | 1 |  | 2 | 3 |
pB | Serious |  | - | - | 1 | 2 | - | 3 | - | - | 4 | - | 5 | -
| pD^+6 |  |  |  |  | 4 |  | 5 |  |  | 1 |  | 2 | 3
| pFCG^+6 |  | 3 |  |  | 4 |  | 5 |  |  | 1 |  | 2 |
| pE^+5 |  |  |  | 4 | 5 |  |  |  | 1 | 2 |  | 3 |

Well, there you have it... all the posible one-note transforms for the pentatonics. If wish to transform from one pentatonic to another but no direct one-note transform is available, then you will have to do it in two or more steps.

### Example Application of Transforms

Transforms are useful for converting from one scale and/or key to another. Of all the transforms described in this document, the modal pentatonic transforms are the most interesting to apply because the results are quite remarkable.

If you have a sequencer, try this modal pentatonic experiment:
- Write a short pattern using only the black notes... name it "pFCG".
- Using "pFCG", convert every "A#" into "A"... name it "pD".
- Using "pD", convert every "D#" into "D"... name it "pA".
- Using "pA", convert every "G#" into "G"... name it "pE".
- Using "pE", convert every "C#" into "C"... name it "pB".
- Using "pFCG" again, convert every "F#" into "E"... name it "pD^+7".
- Using "pD^+7", convert every "C#" into "B"... name it "pA^+2".
- Using "pFCG" again, convert every "F#" into "G"... name it "pB^+1".
- Using "pB^+1", convert every "A#" into "C"... name it "pE^+6".
- Then delete "pFCG".

You now have 7 pentatonic patterns: 2 AsiaMins, 2 JapBalis, 2 Indians and 1 Serious. Arrange the patterns in any order you like... you've now made one seriously ethnic-sounding new tune.

### Scales Reference

Below is a table of Scales. They are arranged into 3 sections: (a) Non 7 or 5 note scales, (b) 7 note scales, and (c) 5 note scales. They are sorted in order of distance from the root-key.

NAME | C | - | D | - | E | F | - | G | - | A | - | B | C | ALTERNATIVE
Chromatic | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 1 | -
Spanish 8 Tone | 1 | 2 | - | 3 | 4 | 5 | 6 | - | 7 | - | 8 | - | 1 | -
Flamenco | 1 | 2 | - | 3 | 4 | 5 | - | 6 | 7 | - | 8 | - | 1 | -
Symmetrical | 1 | 2 | - | 3 | 4 | - | 5 | 6 | - | 7 | 8 | - | 1 | Inverted Diminished
Diminished | 1 | - | 2 | 3 | - | 4 | 5 | - | 6 | 7 | - | 8 | 1 | -
Whole Tone | 1 | - | 2 | - | 3 | - | 4 | - | 5 | - | 6 | - | 1 | -
Augmented | 1 | - | - | 2 | 3 | - | - | 4 | 5 | - | - | 6 | 1 | -
3 semitone | 1 | - | - | 2 | - | - | 3 | - | - | 4 | - | - | 1 | -
4 semitone | 1 | - | - | - | 2 | - | - | - | 3 | - | - | - | 1 | -
NAME | C | - | D | - | E | F | - | G | - | A | - | B | C | ALTERNATIVE
Ultra Locrian | 1 | 2 | - | 3 | 4 | - | 5 | - | 6 | 7 | - | - | 1 | -
Super Locrian | 1 | 2 | - | 3 | 4 | - | 5 | - | 6 | - | 7 | - | 1 | Ravel
Indian-ish* | 1 | 2 | - | 3 | 4 | - | - | 5 | 6 | - | 7 | - | 1 | -
Locrian | 1 | 2 | - | 3 | - | 4 | 5 | - | 6 | - | 7 | - | 1 | -
Phrygian | 1 | 2 | - | 3 | - | 4 | - | 5 | 6 | - | 7 | - | 1 | -
Neapolitan Minor | 1 | 2 | - | 3 | - | 4 | - | 5 | 6 | - | - | 7 | 1 | -
Javanese | 1 | 2 | - | 3 | - | 4 | - | 5 | - | 6 | 7 | - | 1 | -
Neapolitan Major | 1 | 2 | - | 3 | - | 4 | - | 5 | - | 6 | - | 7 | 1 | -
Todi (Indian) | 1 | 2 | - | 3 | - | - | 4 | 5 | 6 | - | - | 7 | 1 | -
Persian | 1 | 2 | - | - | 3 | 4 | 5 | - | 6 | - | - | 7 | 1 | -
Oriental | 1 | 2 | - | - | 3 | 4 | 5 | - | - | 6 | 7 | - | 1 | -
Maj.Phrygian (Dom) | 1 | 2 | - | - | 3 | 4 | - | 5 | 6 | - | 7 | - | 1 | Spanish/ Jewish
Double Harmonic | 1 | 2 | - | - | 3 | 4 | - | 5 | 6 | - | - | 7 | 1 | Gypsy/ Byzantine/ Charhargah
Marva (Indian) | 1 | 2 | - | - | 3 | - | 4 | 5 | - | 6 | - | 7 | 1 | -
Enigmatic | 1 | 2 | - | - | 3 | - | 4 | - | 5 | - | 6 | 7 | 1 | -
NAME | C | - | D | - | E | F | - | G | - | A | - | B | C | ALTERNATIVE
Locrian Natural 2nd | 1 | - | 2 | 3 | - | 4 | 5 | - | 6 | - | 7 | - | 1 | -
Minor (natural) | 1 | - | 2 | 3 | - | 4 | - | 5 | 6 | - | 7 | - | 1 | Aeolian/ Algerian (oct2)
Harmonic Minor | 1 | - | 2 | 3 | - | 4 | - | 5 | 6 | - | - | 7 | 1 | Mohammedan
Dorian | 1 | - | 2 | 3 | - | 4 | - | 5 | - | 6 | 7 | - | 1 | -
Melodic Minor (Asc) | 1 | - | 2 | 3 | - | 4 | - | 5 | - | 6 | - | 7 | 1 | Hawaiian
Hungarian Gypsy | 1 | - | 2 | 3 | - | - | 4 | 5 | 6 | - | 7 | - | 1 | -
Hungarian Minor | 1 | - | 2 | 3 | - | - | 4 | 5 | 6 | - | - | 7 | 1 | Algerian (oct1)
Romanian | 1 | - | 2 | 3 | - | - | 4 | 5 | - | 6 | 7 | - | 1 | -
NAME | C | - | D | - | E | F | - | G | - | A | - | B | C | ALTERNATIVE
Maj. Locrian | 1 | - | 2 | - | 3 | 4 | 5 | - | 6 | - | 7 | - | 1 | Arabian
Hindu | 1 | - | 2 | - | 3 | 4 | - | 5 | 6 | - | 7 | - | 1 | -
Ethiopian 1 | 1 | - | 2 | - | 3 | 4 | - | 5 | 6 | - | - | 7 | 1 | -
Mixolydian | 1 | - | 2 | - | 3 | 4 | - | 5 | - | 6 | 7 | - | 1 | -
Major | 1 | - | 2 | - | 3 | 4 | - | 5 | - | 6 | - | 7 | 1 | Ionian
Mixolydian Aug. | 1 | - | 2 | - | 3 | 4 | - | - | 5 | 6 | 7 | - | 1 | -
Harmonic Major | 1 | - | 2 | - | 3 | 4 | - | - | 5 | 6 | - | 7 | 1 | -
Lydian Min. | 1 | - | 2 | - | 3 | - | 4 | 5 | 6 | - | 7 | - | 1 | -
Lydian Dominant | 1 | - | 2 | - | 3 | - | 4 | 5 | - | 6 | 7 | - | 1 | Overtone
Lydian | 1 | - | 2 | - | 3 | - | 4 | 5 | - | 6 | - | 7 | 1 | -
Lydian Aug. | 1 | - | 2 | - | 3 | - | 4 | - | 5 | 6 | 7 | - | 1 | -
Leading Whole Tone | 1 | - | 2 | - | 3 | - | 4 | - | 5 | - | 6 | 7 | 1 | -
Bluesy R&R* | 1 | - | - | 2 | 3 | 4 | - | 5 | - | 6 | 7 | - | 1 | -
Hungarian Major | 1 | - | - | 2 | 3 | - | 4 | 5 | - | 6 | 7 | - | 1 | Lydian sharp2nd
NAME | C | - | D | - | E | F | - | G | - | A | - | B | C | ALTERNATIVE
"pB" | 1 | 2 | - | 3 | - | - | 4 | - | 5 | - | - | - | 1 | -
Balinese 1 | 1 | 2 | - | 3 | - | - | - | 4 | 5 | - | - | - | 1 | "pE"
Pelog (Balinese) | 1 | 2 | - | 3 | - | - | - | 4 | - | - | 5 | - | 1 | -
Iwato (Japanese) | 1 | 2 | - | - | - | 3 | 4 | - | - | - | 5 | - | 1 | -
Japanese 1 | 1 | 2 | - | - | - | 3 | - | 4 | 5 | - | - | - | 1 | Kumoi
Hirajoshi (Japanese) | 1 | - | 2 | 3 | - | - | - | 4 | 5 | - | - | - | 1 | "pA"
"pD" | 1 | - | 2 | 3 | - | - | - | 4 | - | 5 | - | - | 1 | -
Pentatonic Major | 1 | - | 2 | - | 3 | - | - | 4 | - | 5 | - | - | 1 | Chinese 1/ Mongolian/ "pFCG"
Egyptian | 1 | - | 2 | - | - | 3 | - | 4 | - | - | 5 | - | 1 | -
Pentatonic Minor | 1 | - | - | 2 | - | 3 | - | 4 | - | - | 5 | - | 1 | -
Chinese 2 | 1 | - | - | - | 2 | - | 3 | 4 | - | - | - | 5 | 1 | -

In general, the non-european scales have not been well documented and many of the names selected may not be representative of their music. For example, indian and indonesian music use a huge range of different scales. Arabic music also use quarter-tone tuning (there are notes in between the semitones). Algerian music can use one scale for the first octave and another for the next. Ethopian music can also use the minor, dorian and mixolydian scales. And this is only the tip of the iceberg. Also remember that the above table is only a guide to scales used and the actual tunings used can vary immensely. In the end, the best source for examining scales it to hear it for yourself and translate it.

### Conforming to Classical Notation

You do not have to know how to read classical notation in order to use the information in this section. This information is provided as an additional guide to scales because of the limitations imposed by classical notation. For example, the scale of "A# major" and "Bb major" are exactly the same but classical notation only allows for "Bb major".

The classical notation system is well suited for instruments which are "pre-fingered" for the major scale (eg keyboards) but, for "linear" instruments (eg guitar, violin), it requires more familiarisation.

Classical Notation system:-
- The Range of Notes - is represented by a pair of "Staffs" (a Staff has 5 horizontal lines) and these are marked by "Clefs" (ie either treble or bass).
- Note Identification - Every line or space has been preassigned a note "letter" (ie C, D, E, F, G, A, B). The large space between the Staffs has an imaginary line which represents "middle C".
- The Duration of Notes - are represented by a set of Note-Symbols (usually containing some form of circular dot).
- The Notes to be played - are the placement of Symbols either on the lines or in the spaces.
- Sharp and Flat Notes - "#" and "b" can also be placed next to the Note-Symbols on the Staff.
- Specific Scales - are declared by a "Key-Signature" (a set of sharps or flats on the relevant line or space) at the beginning of the Staff (eg The scale of G major or E minor is declared by marking "#" on "F" locations at the start).

If you are using the scale of C major or A minor (the white notes on a piano), you will not have to pre-mark any sharps or flats as Key Signature. With any other scale, you will need to assign sharps or flats.

With classical notation, problems arises because the Staff represents notes by their "letter". This means that every note in the scale should have a different letter. For example, the scale of F major is F, G, A, Bb, C, D, E. You should not use A# instead of Bb, otherwise the "A#" will have to share the same line or space as "A" (and the "B" line or space will not be used at all). This will cause problems with the Key-Signature.

The table below gives Major and Minor Scales which conform to classical notation. Note - as you count the notes in the scale, you are also counting "letters" (ie In E major, the 6th note is "C#"... so counting 1, 2, 3, 4, 5, 6 is counting E, F, G, A, B, C... and "C" is letter no.6 from "E").

    MAJOR SCALE   R   -   2   -   3   4   -   5   -   6   -   7
       C  maj.:   C   -   D   -   E   F   -   G   -   A   -   B
       Db maj.:   Db  -   Eb  -   F   Gb  -   Ab  -   Bb  -   C
       D  maj.:   D   -   E   -   F#  G   -   A   -   B   -   C#
       Eb maj.:   Eb  -   F   -   G   Ab  -   Bb  -   C   -   D
       E  maj.:   E   -   F#  -   G#  A   -   B   -   C#  -   D#
       F  maj.:   F   -   G   -   A   Bb  -   C   -   D   -   E
       F# maj.:   F#  -   G#  -   A#  B   -   C#  -   D#  -  (E#)
       G  maj.:   G   -   A   -   B   C   -   D   -   E   -   F#
       Ab maj.:   Ab  -   Bb  -   C   Db  -   Eb  -   F   -   G
       A  maj.:   A   -   B   -   C#  D   -   E   -   F#  -   G#
       Bb maj.:   Bb  -   C   -   D   Eb  -   F   -   G   -   A
       B  maj.:   B   -   C#  -   D#  E   -   F#  -   G#  -   A#
    MINOR SCALE   R   -   2   b3  -   4   -   5   b6  -   b7  -
       A  min.:   A   -   B   C   -   D   -   E   F   -   G   -
       Bb min.:   Bb  -   C   Db  -   Eb  -   F   Gb  -   Ab  -
       B  min.:   B   -   C#  D   -   E   -   F#  G   -   A   -
       C  min.:   C   -   D   Eb  -   F   -   G   Ab  -   Bb  -
       C# min.:   C#  -   D#  E   -   F#  -   G#  A   -   B   -
       D  min.:   D   -   E   F   -   G   -   A   Bb  -   C   -
       Eb min.:   Eb  -   F   Gb  -   Ab  -   Bb (Cb) -   Db  -
       E  min.:   E   -   F#  G   -   A   -   B   C   -   D   -
       F  min.:   F   -   G   Ab  -   Bb  -   C   Db  -   Eb  -
       F# min.:   F#  -   G#  A   -   B   -   C#  D   -   E   -
       G  min.:   G   -   A   Bb  -   C   -   D   Eb  -   F   -
       G# min.:   G#  -   A#  B   -   C#  -   D#  E   -   F#  -

Note - F# major contains "E#" (which is "F") and that Eb minor contains "Cb" (which is "B"). This is a small discrepancy in the system.

The table below illustrates the "letter" problems of using the non-conforming keys. Notes in brackets () indicate small discrepancies. Notes in square brackets [] indicate serious problems.

    C# maj.:   C#    D#   (E#)   F#    G#    A#   (B#)
    D# maj.:   D#   (E#)  [F##]  G#    A#   (B#)  [C##]
    Gb maj.:   Gb    Ab    Bb   (Cb)   Db    Eb    F
    G# maj.:   G#    A#   (B#)   C#    D#   (E#)  [F##]
    A# maj.:   A#   (B#)  [C##]  D#   (E#)  [F##] [G##]
    Ab min.:   Ab    Bb   (Cb)   Db    Eb   (Fb)   Gb
    A# min.:   A#   (B#)   C#    D#   (E#)   F#    G#
    Db min.:   Db    Eb   (Fb)   Gb    Ab   [Bbb] (Cb)
    D# min.:   D#   (E#)   F#    G#    A#    B     C#
    Gb min.:   Gb    Ab   [Bbb] (Cb)   Db   [Ebb] (Fb)

These problems do not exist physically, scientifically or mathematically. The problems arise from the system itself. However, the classical notation system is the de facto "language" of music. Plus the system is fairly compact and concise. So perhaps this extra "learning" is not too bad.

The table below shows the Scales of the Major and Minor Keys which conform to classical notation. This may be easier to visualise and remember.

    Major only              Db                       Ab
    both Major & Minor   C      D  Eb  E   F  F#  G      A  Bb  B   C
    Minor only              C#                       G#

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