Construction of scales
major
| I | ionian | 1 | 2 | 3 | 4 | 5 | 6 | j7 |
| II | dorian | 1 | 2 | m3 | 4 | 5 | 6 | b7 |
| III | phrygian | 1 | b2 | m3 | 4 | 5 | m6 | b7 |
| IV | lydian | 1 | 2 | 3 | #4 | 5 | 6 | j7 |
| V | mixolydian | 1 | 2 | 3 | 4 | 5 | 6 | b7 |
| VI | aeolian | 1 | 2 | m3 | 4 | 5 | m6 | b7 |
| VII | locrian | 1 | b2 | m3 | 4 | b5 | m6 | b7 |
minor
| I | aeolian | 1 | 2 | m3 | 4 | 5 | m6 | b7 |
| II | locrian | 1 | b2 | m3 | 4 | b5 | m6 | b7 |
| bIII | ionian | 1 | 2 | 3 | 4 | 5 | 6 | j7 |
| IV | dorian | 1 | 2 | m3 | 4 | 5 | 6 | b7 |
| V | phrygian | 1 | b2 | m3 | 4 | 5 | m6 | b7 |
| bVI | lydian | 1 | 2 | 3 | #4 | 5 | 6 | j7 |
| bVII | mixolydian | 1 | 2 | 3 | 4 | 5 | 6 | b7 |
harmonic minor
| I | aeolian j7 | 1 | 2 | m3 | 4 | 5 | m6 | j7 |
| II | locrian j6 | 1 | b2 | m3 | 4 | b5 | 6 | b7 |
| bIII | ionian #5 | 1 | 2 | 3 | 4 | #5 | 6 | j7 |
| IV | dorian #4 | 1 | 2 | m3 | #4 | 5 | 6 | b7 |
| V | phrygian j3 | 1 | b2 | 3 | 4 | 5 | m6 | b7 |
| bVI | lydian #2 | 1 | #2 | 3 | #4 | 5 | 6 | j7 |
| VII | mixolydian #1 | #1 | 2 | 3 | 4 | 5 | 6 | b7 |
melodic minor
| I | ionian b3 | 1 | 2 | m3 | 4 | 5 | 6 | j7 |
| II | dorian b2 | 1 | b2 | m3 | 4 | 5 | 6 | b7 |
| bIII | lydian #5 | 1 | 2 | 3 | #4 | #5 | 6 | j7 |
| IV | lydian b7 | 1 | 2 | 3 | #4 | 5 | 6 | b7 |
| V | mixolydian b6 | 1 | 2 | 3 | 4 | 5 | m6 | b7 |
| VI | aeolian b5 | 1 | 2 | m3 | 4 | b5 | m6 | b7 |
| VII | super locrian b4 | 1 | b2 | m3 | b4 | b5 | m6 | b7 |
| (= | altered | 1 | b9 | #9 | 3 | b5 | #5 | b7) |
half step/whole step scale
| I | HS/WS | 1 | b2 | m3, 3 | #4 | 5 | 6 | b7 |
whole step/half step scale
| I | WS/HS | 1 | 2 | m3 | 4 | b5, #5 | 6 | j7 |
whole tone scale
| I | whole tone | 1 | 2 | 3 | b5, #5 | b7 |
diminished arpeggio
| I | diminished | 1 | b3 | b5 | bb7 |
augmented arpeggio
| I | augmented | 1 | 3 | #5 |
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Structure of scales in interval steps
On this page, we provide an overview of the interval structure of major scales as well as natural, harmonic, and melodic minor scales. Starting from the fundamental C, the remaining modes (also known as church modes) are formed, which can be played by clicking on the link. For more details on major and various minor modes in musical notation, use the links in bold in the middle of each line. Also listed are the symmetrical scales semitone/whole tone, whole tone/semitone, whole tone incl. diminished and augmented arpeggios.