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In music theory, the scale degree is the position of a particular note on a scaleKolb, Tom (2005). Music Theory, p. 16. . relative to the tonic—the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major interval or minor interval.
In the most general sense, the scale degree is the number given to each step of the scale, usually starting with 1 for tonic. Defining it like this implies that a tonic is specified. For instance, the 7-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the Major scale C–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. In set theory, for instance, the 12 degrees of the chromatic scale are usually numbered starting from C=0, the twelve being numbered from 0 to 11.
In a more specific sense, scale degrees are given names that indicate their particular function within the scale (see table below). This implies a functional scale, as is the case in tonality.
This example gives the names of the functions of the scale degrees in the seven-note diatonic scale. The names are the same for the major and minor scales, only the seventh degree changes name when flattened:Benward & Saker (2003). Music: In Theory and Practice, vol. I'', p p.32–33. Seventh Edition. . "Scale degree names: Each degree of the seven-tone diatonic scale has a name that relates to its function. The major scale and all three forms of the minor scale share these terms."
The term scale step is sometimes used synonymously with scale degree, but it may alternatively refer to the distance between two successive and adjacent scale degrees (see steps and skips). The terms "whole step" and "half step" are commonly used as interval names (though "whole scale step" or "half scale step" are not used). The number of scale degrees and the distance between them together define the scale they are in.
In Schenkerian analysis, "scale degree" (or "scale step") translates Schenker's German Stufe, denoting "a chord having gained structural significance" (see ).
| 1 | Tonic | Ionian mode | Aeolian | Tonal center, note of final resolution | A | A | 0 |
| 2 | Supertonic | Dorian mode | Locrian | One whole step above the tonic | B | B | 2 |
| 3 | Mediant | Phrygian mode | Ionian | Midway between tonic and dominant, (in minor key) tonic of relative major key | C | C | 3-4 |
| 4 | Subdominant | Lydian mode | Dorian | Lower dominant, happens to have the same interval below tonic as dominant is above tonic | D | D | 5 |
| 5 | Dominant | Mixolydian mode | Phrygian | Second in importance to the tonic | E | E | 7 |
| 6 | Submediant | Aeolian mode | Lydian | Lower mediant, midway between tonic and subdominant, (in major key) tonic of relative minor key | F | F | 8-9 |
| 7 | Subtonic (minor seventh) | Mixolydian | One whole step below tonic in natural minor scale. | G | 10 | ||
| Leading-tone (major seventh) | Locrian mode | One half step below tonic. Melodically strong affinity for and leads to tonic | G | 11 |
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