The scale degrees are the seven positions that each note occupies in a scale. Every degree has a Roman numeral, a proper name and a specific harmonic function. Knowing these names is essential for analyzing chords, understanding tonal harmony and seeing why some progressions create tension and others create rest. For background, see the page on musical intervals.
The diatonic scale has seven degrees. Going up from the tonic, their names are:
- Tonic — degree I
- Supertonic — degree II
- Mediant — degree III
- Subdominant — degree IV
- Dominant — degree V
- Submediant (Spanish books often say “superdominante”) — degree VI
- Leading tone (UK: leading note) or subtonic — degree VII
Names of the scale degrees
| Degree | Roman numeral | Name | Harmonic function |
|---|---|---|---|
| 1st | I | Tonic | Tonal center. Maximum rest. |
| 2nd | II | Supertonic | Mild tension. Prepares the dominant. |
| 3rd | III | Mediant | Defines the mode (major or minor). |
| 4th | IV | Subdominant | Moves away from the tonal center. |
| 5th | V | Dominant | Maximum tension. Resolves to the tonic. |
| 6th | VI | Submediant | Relative of the tonic. Relative rest. |
| 7th | VII | Leading tone / Subtonic | Strong pull to the tonic (half step above) or mild tension (whole step below). |
Harmonic function of each degree
Each degree plays a role in the key. This is what is called harmonic function (tonic, subdominant and dominant). Here is the character of each degree; the page on harmonic functions explains how they are grouped and linked.
I — Tonic. It is the starting and ending point of all tonal music. The tonic chord is maximum rest: any progression that ends on I sounds finished. Everything in tonal music gravitates around it.
II — Supertonic. It creates mild, preparatory tension. It is often used in II–V–I progressions, where it announces the arrival of the dominant. In a minor key, the diminished supertonic chord makes that tension stronger.
III — Mediant. It is the modal degree par excellence: if the third is major, the scale is major; if it is minor, the scale is minor. Its name means that it lies midway between the tonic and the dominant, and its diatonic triad shares two notes with the tonic chord.
IV — Subdominant. The prefix sub means that it lies a fifth below the tonic (just as the dominant lies a fifth above). Its chord moves away from the tonal center, creating contrast before the return to the tonic.
V — Dominant. It is the degree of greatest harmonic tension. In tonal harmony, the dominant seventh chord (V7) contains a tritone between the leading tone and the subdominant, a dissonance that “demands” to resolve to the tonic. The V–I relationship is fundamental in tonal music and gives a strong feeling of resolution.
VI — Submediant. Spanish textbooks usually call it the “superdominante”; “submediant” is the name used in English. It shares two notes with the tonic chord, so it acts as a soft substitute for it. In a major key, the VI degree gives the relative minor chord (A minor is the relative of C major). Its character is relative rest, more expressive and less conclusive than the tonic.
VII — Leading tone or subtonic. It has two names depending on its distance from the tonic. It is called the leading tone when it lies a half step below the tonic (major scale, harmonic minor and ascending melodic minor): the note “leads” strongly to the tonic. It is called the subtonic when it lies a whole step below the tonic (natural minor scale): the pull is weaker and the character is more modal.
Tonal degrees
They are the tonic (I), the subdominant (IV) and the dominant (V). They define the key and show where the tonal center is. They are the tonal degrees in both major and minor, because they sit at the same distance from the tonic in both modes. (Classifying degrees as “tonal” and “modal” is common in Spanish and French teaching; English textbooks usually talk about harmonic functions instead.)
The relationship between them is the heart of the tonal system. The dominant lies a perfect fifth above the tonic, and the subdominant lies a perfect fifth below. This gives the most basic harmonic motions:
- I → V → I (authentic cadence): creates tension and resolves it. It is the most powerful harmonic motion in Western music.
- I → IV → I (plagal cadence, or “Amen” cadence): a gentler motion with an older, more modal flavor.
Modal degrees
They are the mediant (III), the submediant (VI) and the leading tone / subtonic (VII). These are the degrees that carry the characteristic differences between major and minor.
In the major scale, each of these three degrees forms a specific interval with the tonic. In the natural minor scale, all three are lowered by a half step, which gives minor its darker color:
| Modal degree | In the major scale | In the natural minor scale |
|---|---|---|
| III — Mediant | Major 3rd (4 half steps) | minor 3rd (3 half steps) ↓ |
| VI — Submediant | Major 6th (9 half steps) | minor 6th (8 half steps) ↓ |
| VII — Leading tone / Subtonic | Major 7th (11 half steps) | minor 7th (10 half steps) ↓ |
Lowering these three degrees is exactly what separates the C major scale (C–D–E–F–G–A–B) from the C natural minor scale (C–D–E♭–F–G–A♭–B♭).
The scale degrees in C major: a full example
Applying the names to the C major scale (C–D–E–F–G–A–B):
| Note | Degree | Roman numeral | Name | Diatonic chord |
|---|---|---|---|---|
| C | 1st | I | Tonic | C major |
| D | 2nd | II | Supertonic | D minor |
| E | 3rd | III | Mediant | E minor |
| F | 4th | IV | Subdominant | F major |
| G | 5th | V | Dominant | G major |
| A | 6th | VI | Submediant | A minor |
| B | 7th | VII | Leading tone | B diminished |
The diatonic chords on degrees I, IV and V are major (the tonal degrees); those on II, III and VI are minor; and VII is a diminished chord.
Key point: the names and functions of the degrees do not change with the key. In G major (G–A–B–C–D–E–F♯), I is still the tonic (G), V the dominant (D) and VII the leading tone (F♯). Only the notes change; the degrees are always the same.
The note names above use letters. In Spanish-, French- and Italian-speaking countries the fixed-do names are used instead: C = Do, D = Re, E = Mi, F = Fa, G = Sol, A = La, B = Si.
Scale degree exercises
You learn the names by using them. These two exercises work in both directions: one starts from a written note and asks for the degree, and the other starts from the degree and asks for the note. Each has three levels, and the last one mixes major and minor keys to practice the one degree whose name really changes: the 7th degree is the leading tone when it lies a half step below the tonic and the subtonic when it lies a whole step below.
Which scale degree is this note?
You see a key and a note on the staff. Say which degree it is, as a Roman numeral, and what it is called.
Which note is this scale degree?
The reverse exercise: you get the key and are asked for a degree, sometimes by its number and sometimes by its name. When you check your answer, the note appears written on the staff.
What are scale degrees for?
Identifying degrees is the basic tool for understanding and creating tonal music. They are used mainly to:
- Build chords: each degree produces its own diatonic triad.
- Analyze and write cadences: they are named by the degrees that form them (V–I, IV–I…).
- Harmonize melodies and improvise: knowing which degree is sounding at each moment lets you choose suitable chords and notes.
- Compare keys: Roman-numeral analysis describes a progression in any key.
Common mistakes
- Thinking the degrees change names with the key: they do not. I is always the tonic, V always the dominant… only the notes change.
- Confusing “dominant” with “the most used chord”: “dominant” refers to its function (maximum tension, degree V), not to how often it appears.
- Thinking VII is always the leading tone: it is only the leading tone when it lies a half step from the tonic; a whole step away (natural minor) it is the subtonic.