A commonly-used convention for describing scale structure is a number system that uses the **Major Scale** as the point of reference…

The system works as follows:

- The number “1” always represents the key that you are in.
- Numbers are assigned to each note in the
**Major Scale**in ascending order. - In the key of C, for example: C=1, D=2, E=3, F=4, G=5, A=6, B=7
- In the key of G, for example: G=1, A=2, B=3, C=4, D=5, E=6, F#=7

## Scale Degrees for the C Major Scale

And so, the major scale is said to have a scale structure of 1-2-3-4-5-6-7…

Important Points:

- Remember: Any system for
*naming*things is an abstract and arbitrary left-brain construct. - The choice of
*major*scale as the conventional reference point does not imply that there is something sacred about the**Major Scale**. - Do not let numbers suggest that going
*up*the scale is somehow more important than going*down*the scale. - Do not let numbers suggest that a scale is only a linear construct.
- Do not let the numbers suggest that a “4” must exist before a “5” can exist… or that a “3” must exist before a “b3” can exist.

## Scale Degrees for the C Natural Minor Scale

Now let’s use the number system to describe the scale structure of the **Natural Minor Scale**…

And so, the **Natural Minor Scale** has a scale structure of 1-2-b3-4-5-b6-b7…

Of course, *any* combination of notes is theoretically possible when building scales, but don’t worry about the details right now. For the moment, it is sufficient to understand the concept of scale structure and the number system described above. You will learn lots more when as your study of scales, chords, and chord progressions unfolds.