Scales are very useful, as they are a 'list' of diatonic notes. That 'list' is a set of notes recognised to work well together (with a little prudence). I guess the majority of pieces, if examined, would comprise notes from a particular scale - which then can be construed as constituting a particular key.

'Mixing scales' - is one way to put it, but it's usually more a case of using an occasional note from another key. Think about it - in one key, 7 out of the 12 notes available can be drawn upon, only leaving another 5.

At the beginner stage, it's safer to stick to diatonic notes - even pentatonics - as they will work well together, and produce fewer problems with harmonies - which also, safely, will contain diatonic notes. When you improve, you'll want to include other notes, but it's not that good an idea to consider that you're 'using other scales', unless the piece has modulated, at which point, that's exactly what's happening.

You will also find, when you meet the 'circle of fourths', that as it goes round, one key has only one note changed at a time. For example, key C and key F are next to each other. They both contain exactly the same notes, but with a single change. C has B, whereas F has B♭. There is a greater chance of a piece in key C having a B♭ (next door neighbour), than an E♭ (a key much further round that circle).

Scales are very useful, as they are a 'list' of diatonic notes. That 'list' is a set of notes recognised to work well together (with a little prudence). I guess the majority of pieces, if examined, would comprise notes from a particular scale - which then can be construed as constituting a particular key.

'Mixing scales' - is one way to put it, but it's usually more a case of using an occasional note from another key. Think about it - in one key, 7 out of the 12 notes available can be drawn upon, only leaving another 5.

At the beginner stage, it's safer to stick to diatonic notes - even pentatonics - as they will work well together, and produce fewer problems with harmonies - which also, safely, will contain diatonic notes. When you improve, you'll want to include other notes, but it's not that good an idea to consider that you're 'using other scales', unless the piece has modulated, at which point, that's exactly what's happening.

You will also find, when you meet the 'circle of fourths', that as it goes round, one key has only one note changed at a time. For example, key C and key F are next to each other. They both contain exactly the same notes, but with a single change. C has B, whereas F has B♭. There is a greater chance of a piece in key C having a B♭ (in the next door neighbour key), than a D♭ (in a key much further round that circle).

Scales are very useful, as they are a 'list' of diatonic notes. That 'list' is a set of notes recognised to work well together (with a little prudence). I guess the majority of pieces, if examined, would comprise notes from a particular scale - which then can be construed as constituting a particular key.

'Mixing scales' - is one way to put it, but it's usually more a case of using an occasional note from another key. Think about it - in one key, 7 out of the 12 notes available can be drawn upon, only leaving another 5.

At the beginner stage, it's safer to stick to diatonic notes - even pentatonics - as they will work well together, and produce fewer problems with harmonies - which also, safely, will contain diatonic notes. When you improve, you'll want to include other notes, but it's not that good an idea to consider that you're 'using other scales', unless the piece has modulated, at which point, that's exactly what's happening.

Scales are very useful, as they are a 'list' of diatonic notes. That 'list' is a set of notes recognised to work well together (with a little prudence). I guess the majority of pieces, if examined, would comprise notes from a particular scale - which then can be construed as constituting a particular key.

'Mixing scales' - is one way to put it, but it's usually more a case of using an occasional note from another key. Think about it - in one key, 7 out of the 12 notes available can be drawn upon, only leaving another 5.

At the beginner stage, it's safer to stick to diatonic notes - even pentatonics - as they will work well together, and produce fewer problems with harmonies - which also, safely, will contain diatonic notes. When you improve, you'll want to include other notes, but it's not that good an idea to consider that you're 'using other scales', unless the piece has modulated, at which point, that's exactly what's happening.

You will also find, when you meet the 'circle of fourths', that as it goes round, one key has only one note changed at a time. For example, key C and key F are next to each other. They both contain exactly the same notes, but with a single change. C has B, whereas F has B♭. There is a greater chance of a piece in key C having a B♭ (next door neighbour), than an E♭ (a key much further round that circle).