Major

The major pattern

All major scales follow exactly the same sequence of whole tones and semitones, whichever root you start on. The semitone steps always lie between the third and fourth and between the seventh and eighth degree. If you start the pattern on G instead of C, an F♯ appears automatically, otherwise the semitone would not fall in the right place. Each new fifth up adds exactly one sharp.

The major triad

The triad on the root consists of a major third at the bottom and a minor third on top, in semitones 4 + 3. That gives the bright, stable sound.

The difference from minor lies in the lower third alone: in major it is major, in minor it is minor. Same root, one note different, and the mood flips. The article Major and minor: the third as a switch says more.

Major in practice

Every major key has a relative minor key with the same key signature. The relative of C major is A minor, which also has no sharps or flats. The circle of fifths shows how many sharps or flats a major key has: clockwise one sharp is added each time, anticlockwise one flat.

Common mistakes

• Equating major with “happy”: Major often sounds bright, but it is no guarantee of mood. Tempo, rhythm and context play a part.
• Placing the semitone steps wrongly: They lie between degrees 3–4 and 7–8, not between 2–3.
• Writing key names carelessly: The note letter is a capital and the mode word is lowercase: “C major”, “A minor”, not “c Major”.