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MARTYN KRÜGEL’S BASS MANUAL

Book 1: Major Keys FREE ELECTRONIC PDF VERSION 1.1 - 2009

NOT FOR SALE This is a COMPLIMENTARY Internet e-book made available for 01 January 2009 First draft completed 2007 – Revised and Updated 2008 Copyright © by Martyn Krügel 2007 onwards This publication will be updated quarterly by the author and presented on the Internet All Rights Reserved The moral right of the author has been asserted This PDF file was created as an additional educational aid for students of the bass guitar. The content, structure, format, analysis, design, artwork, photographs, methodology and model, remain the property of Martyn Krügel.

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PREFACE This work is dedicated to teachers and students of the bass and particularly to and for the development of new aspiring bassists. This bass manual series – consisting of seven books – was designed as an additional study aid for students of the bass guitar and to show aspiring bassists just exactly how music theory is applied on the instrument and to promptly set the new bassist who cannot yet read music on the right track. It is not the type of instruction book that suggests a specified method to be followed and as a result students are urged to develop their own course of action in working through these books. The assistance of a teacher or mentor will be invaluable and I urge aspiring musicians to always seek out a good mentor in music. I am also confident that a good mentor will immediately grasp the intention of my presentation and put the objectives of this presentation into practice, for the benefit of the student. If anyone has any questions or comments, please feel free to contact me. And good luck with the music. Martyn Krügel

Special thanks to Edwin Schroeder musician extraordinaire who introduced and taught me the art of music and especially the greater art of improvisational music. Also a special thanks to my family and friends for their support. INVITATION TO ADVERTISERS The – Martyn Krügel’s Bass Manual Series – will be updated on a quarterly basis by the author and presented on his web site. Anyone involved in the music industry can therefore utilize this medium to promote their business. Potential advertisers can contact the author directly if they wish to place advertisements of their products and/or services in the next edition of the – Martyn Krügel’s Bass Manual Series – for a costeffective way to advertise and market their products and/or services. For more details contact Martyn and request a price list.

CONTACT DETAILS Martyn Krügel web site: www.freebassmanual.com e-mail: [email protected]

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CONTENTS

INTRODUCTION

Objective – The Major Scale Patterns – Comments on Fingerings – Comments on Technique – Comments on Improvisation – The First Lesson – A Final Word

Pg. 5

Chapter 1

THE KEY OF C MAJOR

Pg. 15

Chapter 2

THE KEY OF G MAJOR

Pg. 24

Chapter 3

THE KEY OF D MAJOR

Pg. 33

Chapter 4

THE KEY OF A MAJOR

Chapter 5

THE KEY OF E MAJOR

Chapter 6

THE KEY OF B MAJOR

Chapter 7

THE KEY OF F# MAJOR

Chapter 8

THE KEY OF C# MAJOR

Chapter 9

THE KEY OF F MAJOR

Chapter 10

THE KEY OF Bb MAJOR

Chapter 11

THE KEY OF Eb MAJOR

Chapter 12

THE KEY OF Ab MAJOR

Pg. 114

Chapter 13

THE KEY OF Db MAJOR

Pg. 123

Chapter 14

THE KEY OF Gb MAJOR

Pg. 132

Chapter 15

THE KEY OF Cb MAJOR

Pg. 141

Pg. 42

The Notes Pg. 51

The Bass Fingerboard Pg. 60

The Major Scale Patterns Intervals Harmony: The Scale Tone Chords (triads)

Pg. 69

Pg. 78

Pg. 87

Pg. 96

Further Harmonization of the Scale Tone Chords

Pg. 105

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INTRODUCTION Objective The purpose of this Bass Manual Series is to present music theory as it is applied on the four string bass in the simplest and most logical manner possible. This presentation in essence uses an abundant array of visualizations of the bass fingerboard as the means of conveying information to the beginner who has no musical vocabulary and thus finds it easier to be initially aided by illustrations. This series was also designed to give a really comprehensive overview of music theory in the hope that when the ‘whole’ is presented to the new student – the ‘part’ be easier grasped. So, this series will serve as:  A guide to the new aspiring bassist – Introducing him and her to how music theory is applied on the bass.  An aid for the bass teacher – In that it illustrates the theory that will be taught.  Or as an additional utility or reference-guide for the advanced bass student – With hundreds of diagrams and photographs for reference purposes. Some method books especially for the bass, attempt to teach the ‘beginner’ licks or riffs or grooves to be played but almost always fail in its objectives because the information is not presented in a proper musical context. Only once you know a little bit of music theory will you be able to decipher the exercises in such method books and unearth some value from it or be in a position to assess whether it contains any value at all. Furthermore, and I suppose only if you are serious about music, any book that claims to have some kind of quick fix or ten easy steps to learn to play any instrument should be viewed with considerable suspicion. It is just a cold hard fact that it takes a long period of time and real effort and hours upon hours of practice for anyone to become skilled on any instrument. Ideally, the best advice for any aspiring musician would always be to find a good music teacher and if you only use this series of books as preparation therefore, or to merely familiarize yourself with a couple of musical concepts, it will certainly be worth your while and serve as a valuable aid on your musical journey and in learning your instrument. Music is a complex art form and it will require all of your faculties (mental – aural – technique) to produce a musical effect. An all-important component of music is the theory thereof and it is through studying this that we can develop and enhance these faculties to produce a musical effect and the study of music theory will therefore serve as our starting point on this musical journey. In practice, let’s say for example that you are now familiar with the key of C Major because you have worked through the first chapter of this book and you are now able to identify the key of C Major on your instrument and are now technically able to play within this key because you have practiced the various major scale patterns persistently on your bass, it will henceforth be much easier to play any piece of music in the key of C Major or even improvise along with any tune that is in this key. Doing the theory is also in actuality quite enjoyable as you will soon find out and once you’ve grasped a couple of the theoretical concepts as it is presented here you will be well on your way to become a real musician and also the overall quality of your practice and the enjoyment of practicing will be greatly enhanced. And remember that even though this emphasis on music theory sounds a bit studious quite the opposite is true because the way to learn this theory is by practical application in other words – by playing it. When you see a major scale pattern – you learn it by playing it. When you see an interval – you learn it by playing it. When you see a chord – you learn it by playing it. So, let’s start.

The Major Scale Patterns In this book 1 of the series, you will be shown how major keys are applied on the bass.

Learning how the MAJOR KEYS are applied on your instrument is of the utmost importance. Once you come to terms with the application of the MAJOR KEYS on the bass you will quickly come to terms with a lot of musical concepts and also everything else in all the other books of this series. So your first goal should be to learn everything about the MAJOR KEYS and learn to play in all the MAJOR KEYS. Please invest a considerable amount of time in learning and understanding the MAJOR KEYS before you move on to the other books in this series. The chapters in this book correspond to all of the individual major keys that we find in music theory and every chapter will deal with a specific major key only. In order to learn a particular major key and how to play within that major key, you will need to learn that key’s major scale. The application of any major scale on the bass

Page |6 fingerboard is in practice quite simple because all you need to do is to basically memorize the following set patterns as illustrated in the diagrams below. The first three patterns start with the root note on the top string and covers the fingerboard to the left, in the center and to the right. Then we have three almost identical patterns but with the root note or starting point on the second string and then finally and a very important pattern, is the single string pattern that can and must be played on all four strings. When you play each one of these patterns you will hear that familiar Do-Re-Mi-Fa-Sol-La-Ti-Do sound, which is the sound of a major scale and you will also observe how extensively these patterns cover the fingerboard and also how in combination these patterns then subsequently form the particular major key on the fingerboard. These major scale patterns must be memorized and you must learn to play them all over the bass. The major scale patterns are: [The numerical value indicates the sequential order of the pattern and also represents the numerical value of the major scale. The diagrams here and throughout the series illustrate your viewpoint when you’re holding the bass].

The three major scale patterns with the root note on the TOP STRING:

Pattern to the Left

Pattern in the Center

Pattern to the Right

The three major scale patterns with the root note on the SECOND STRING:

Pattern to the Left



The single string major scale pattern with the root note on ALL FOUR STRINGS:

Single String Pattern



Now, when we take these major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ across the entire surface of the fingerboard in which you can then play and improvise – once learned. It is important that you know your instrument well and learn to play all over the fingerboard in a particular key. Movement across the fingerboard of your instrument is absolutely essential and should be a natural part of your playing ability and the single string pattern will assist you in this and in playing these patterns in a ‘linked’ manner.



What is interesting is that the above major scale patterns remain exactly the same in form (the PATTERN that you visualize and memorize) when applied to any other major key. To play in any other major key will only depend on the starting note or the first note of the pattern also called the root note. For example: Starting on the C note and imitating the above major scale patterns would produce the C MAJOR SCALE that then again produces the KEY OF C MAJOR when all the patterns starting on the note C are linked. Starting on the E note and imitating the above patterns would produce the E MAJOR SCALE that then again produces the KEY OF E MAJOR when all the patterns starting on the note E are linked and so forth.

Page |7 

This means that when you’ve memorized these few set major scale patterns mentally and technically (acquiring through regular practice the physical ability to play these patterns) you’ll be well on your way to be able to play in any major key ALL over the bass fingerboard.



By memorizing is not only meant the mental aspect of learning the pattern, but also the ability to play these patterns fluently on the bass technically in an ascending and descending manner or any other possible variation whatsoever. In other words, these patterns that serve as a ‘ROADMAP’ must be played like its second nature. Using a metronome while practicing these patterns will be time well spent and for ear training you can sing or hum the Do-Re-Mi-Fa-Sol-La-Ti-Do sounds together with the patterns you practice. Just make sure you sing in tune with the notes you’re playing. This ability to sing or hum the note that you play is excellent ear training and you should develop this skill.



Each and every ‘ROADMAP OF THE MAJOR SCALE OR KEY’ produced by linking the major scale patterns, remains the same in visual form to any other individual major key – a kind of mirror effect that takes place. This incident occurs on instruments like the guitar and bass purely by their design, where the ‘picture’ or pattern of one major key looks exactly the same (visually) as the ‘picture’ or pattern of any other major key. This repetition makes it just a little easier to learn the instrument. The subsequent notes calculated in a major scale sequence from any given starting point will bring about that starting point’s major key. The starting point for example in the key of A MAJOR will be the root note or key note A and this starting point is also called the KEY TONALITY. It is the position of the notes and their note names and their respective sounds that differentiate one key from the other.



And then finally concerning this topic, just bear in mind that the ability to play a pattern up and down fluently is not the music just yet (but it will be the first objective in terms of technique and learning your instrument). When we think of music and the function of these patterns, it is best explained when we observe the improvisational musician like a Jazz bassist who would create melodies, riffs, licks and musical themes spontaneously within these patterns by playing an assortment of different note selections and rhythmic variations around these patterns that has already been committed to memory. In other words, first memorize these patterns physically (technique) and then improvise around it. These patterns should be memorized visually in form, also numerically and it is also important that the note names of each particular major scale are memorized as well. When you do all this practicing you will automatically train your ear and begin to develop your aural sense and also the ability to hear the relationship of sounds.

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Comments on Fingerings To immediately grasp the correct fingerings of the major scale patterns or any pattern for that matter, it is best understood when we subdivide these patterns into the following three ‘sub-patterns’.

1

2

3

[The major scale patterns are basically just a composition of these three ‘sub-patterns’]

Then we forget about this notion of ‘correct fingerings’ and substitute it with the idea of Finger Articulation. This is the ability to play any pattern with all of the four fingers or a combination of the fingers that presses against the fingerboard. This is how you commence practicing it: 1. Start by playing the above sub-patterns with only one finger, but all four fingers individually: Index Middle Ring Pinkie 2. Then play the above sub-patterns with combinations of two fingers: Index – Middle Index – Ring Index – Pinkie Middle – Ring Middle – Pinkie Ring – Pinkie 3. Then play combinations of three fingers: Index – Middle – Ring Index – Middle –Pinkie [Observe how sub-pattern 1 and 2 naturally falls into this combination] Index – Ring –Pinkie [Observe how sub-pattern 3 naturally falls into this combination] Middle – Ring –Pinkie 4. And then finally play the combination of all four fingers and then apply this method of finger articulation when you learn to play the major scale patterns.    

When you now observe the major scale patterns you’ll see that the ideal finger to start with when playing the pattern that covers the fingerboard to the left will be the pinkie on the root note with the hand then almost perfectly in position to cover that part of the fingerboard that comes into play. The ideal finger to start with when playing the pattern that covers the center of the fingerboard will be the middle finger on the root note with the hand then perfectly in position to cover this part of the fingerboard that comes into play. The ideal finger to start with when playing the pattern that covers the fingerboard to the right will be the index finger on the root note with the hand then perfectly in position to cover that part of the fingerboard that comes into play. The single string pattern is probably the most important pattern and should be played fluently on all four strings with all possible finger combinations of one finger, two fingers, three fingers and four fingers.

[The crux of the above method that I call ‘finger articulation’ was introduced to me through an exceptional book called Advancing Guitarist by Mick Goodrick – published by Hal Leonard, who recommended this method for learning and exploring single string playing].

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Comments on Technique With regards to the hand that presses against the fingerboard you may take note of the following. Make sure that it is your thumb and only your thumb that is pressed against the back of the fingerboard and that it is situated close to the middle of the back of the neck of the bass. Don’t rely on pressing your palm against the back of the neck to accommodate for strength because your hand will just ‘choke’ the neck of your bass and this will seriously hinder your movement. In the beginning this might feel just a bit uncomfortable and this is perfect because the strength in your hand and fingers and thumb that presses against the back of the fingerboard still needs to be developed. The way to develop the proper strength in your hand and fingers would be to from the outset position your hand correctly when you play and to do technical exercises of the major scale patterns all over the bass for example. Strength and coordination will develop over time but it is important to start technically correct and to then attain the strength necessary to play – through regular practice and by practicing the major scale patterns over and over and over. Here are a few photographs just to give you a general idea and to set you on the right track with regards to the positioning of the hand from the back:

The notes that you play on the fingerboard with the four fingers that are in contact with the strings should be played with the tips of your fingers and your fingertips should always be in close contact with the strings – almost always ready in position – so never lift your fingers far from the strings – you should also be striving for an economy of movement. These fingers should appear ‘spread’ equally over the fingerboard. Ensure for the most part that the four fingers on the fingerboard covers four frets – do not let two fingers dwell over one fret for example. The following photographs will illustrate the general correct positioning of the hand and fingers from the front just to give you an idea:

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Once you have familiarized yourself with the first major scale pattern that starts on the top string and covers the fingerboard to the left and have determined the correct fingerings according to the section that deals with Finger Articulation and start practicing this pattern, your fingers should more or less already be in position with the notes that come into play. Observe the following sequence of photographs where I play that first major scale pattern while striving for that economy of movement. [One photo for every degree of the pattern ascending and descending]: st

2

Degree

3 Degree

th

7 Degree

th

8 Degree

th

6 Degree

th

5 Degree

1 Degree

6 Degree

7 Degree

2

nd

Degree

nd

rd

4 Degree

th

5 Degree

th

9 Degree

th

4 Degree

th

th

8 Degree

th

3 Degree

th

rd

st

1 Degree

The overall objective is to try and make it look like you’re playing the patterns effortlessly or seamlessly in a relaxed manner. Once you achieve this just play all the major scale patterns over and over as technical exercises to develop your strength and coordination and stay relaxed. To begin with I suggest that you start with the three sub-patterns as discussed in the previous section with the correct fingerings and play these three sub-patterns as technical exercises all over the bass before you start with the major scale patterns. Over time your strength and the intensity (volume) with which you play the notes will increase. The hand that plucks the strings to me is more of an individual matter of choice in that I have opted for an almost classical guitar style approach in playing the strings on my bass. I therefore use my thumb, index, middle and ring finger quite comfortably when I play but predominantly I use my index, middle and ring finger in the traditional sense of playing the bass guitar. I personally do not rest any part of my hand or fingers on any part of the body of the bass as I have developed sufficient strength in my fingers alone to play any note at any

P a g e | 11 intensity and thus the movement of this hand also remains unrestricted and I can move and attack the strings over a wide area with ease. You should however play the strings with the tips of your fingers (the fleshy part) and always ensure that your hand and fingers are in close contact with the strings – almost always ready in position – and again – try to play economically and stay relaxed. Here are a few photographs of my right hand that plays the strings from various angles to give you some tips:

P a g e | 12 When you do the technical exercise of playing the three sub-patterns you will notice that it is quite easy to see the correlation between the fingerings of the hand that presses against the fingerboard and the fingers whether index, middle or ring you should pluck the string with. Apply this when you start to practice the major scale patterns. You may also as a technical exercise play the four strings with your right hand only and play various rhythms on the open strings to develop strength and coordination. The thing about technique is that it really takes a long time to develop but if you follow the basic policy of – staying relaxed – economy of movement – hands always close to the strings – and more than just regular practice – technique shouldn’t be a problem. You can also do a lot of technical exercises while sitting and watching television like playing notes chromatically all over the fingerboard with all four fingers. The trick is to just start slowly and to practice with intent. Here is a sequence of photographs illustrating the chromatic exercise that you must do all over the bass up and down and on a single string: 1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

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Comments on Improvisation [IMPORTANT NOTICE: The new aspiring musician should just take a moment and think about and conceptualize the notion of IMPROVISATION in the context of music with the goal of applying it when learning, practicing and playing]. A few things to think about and apply when incorporating improvisation when playing or practicing something like the major scale patterns and open to your own interpretation Accents

Phrasing

Arpeggios

Relaxation

Note Repetition

Tempo

Speed

Note Selection

Taking Risks

Volume

Beat

Melody

Trills

Listening

Finger Articulation

Coordination

Legato

Intervals

Timing

Single String

Amplitude

Pizzicato

Modes

Syncopation

Chords

Rhythms

Articulation

Question & Answer

Emotion

Blues

Tremolo

Phantom Notes

Concentration

Jazz

Silence

Dynamics

Triplets

Open Strings

Length of Note

Space

Ornaments

Harmonics

Bebop

Triads

Discipline

Scatting

Tapping

Visualizations

Sliding

Music

The First Lesson The first lesson for the beginner will be to learn the notes on the bass fingerboard. This is very, very important. Start by learning all the natural notes first A B C D E F G, that’s the musical alphabet basically. The remaining notes on the fingerboard will be the sharpened or flattened variations of these seven notes. You’ve most probably already heard musicians talk of tones and semitones. On the bass and similarly the guitar fingerboard a semitone is the distance of one fret and a tone is the distance of two frets. A sharpened note is indicated by the symbol {#} and is a semitone (one fret) higher than the natural note. A flattened note is indicated by the symbol {b} and is a semitone (one fret) lower than the natural note. A sharpened note like the note F# is pronounced F sharp and a flattened note like Ab for example is pronounced A flat. You will also observe that the notes Ab and G# to use one example are basically the same note with the same pitch and when this occurs these notes are called enharmonic notes. However, when you learn the notes of the major scales and their respective key signatures you will become familiar with what note names to use whether flat or sharp and you will be able to distinguish between the keys with sharp key signatures and the keys with flat key signatures. An additional tip that you can observe in memorizing the note names of the major scales is that the major scale always adhere to an alphabetical sequence with the variations indicated by the sharpened or flattened note (or notes). This sharpened or flattened note (or notes) is called the key signature of that particular key. For example: The key signature of G Major is the note F# and the key signature of Bb Major is Bb and Eb. Now, the easiest way to learn all the notes on the fingerboard is to learn the notes string for string. Start with the top string (E) and learn all the natural notes first. Then the second string (A) and learn all the natural notes first. Then the third string (D) and learn all the natural notes. And then the bottom string (G) and learn all the

P a g e | 14 natural notes first. Take your time. Take four weeks, a string a week. Incorporate some of that finger articulation exercises while you learn, like playing with a single finger and sliding from one natural note to the other. Develop a warm-up exercise for learning the notes on a single string utilizing all four fingers. Remember the note value of the open strings and learn the notes right up to the end of the fingerboard beyond the twelfth fret an octave higher. Remember, in order to play music, you’ll first have to study the particular instrument that you’ll be playing and learning the position of the notes on the bass fingerboard will be the bassist’s first step just like the guitarist will have to learn the position of the notes on the guitar fingerboard first. In the appendix of this series the notes of a 24 fretted bass fingerboard is illustrated covering the whole neck of the bass in the following four diagrams: Diagram 1 – All the natural notes Diagram 2 – All the natural notes and the sharpened notes Diagram 3 – All the natural notes and the flattened notes Diagram 4 – All the notes

A Final Word In working through this book, what you as the student need to do is to apply the things that are shown to you. For example: When you see a section dealing with intervals and in that section it is stated that the notes C and F together produces a perfect fourth interval, you must then take your bass and apply this and play these two notes and listen and observe and say to yourself, okay, so this is a perfect fourth interval and approach all the other topics in the same fashion. Forgive me for stating the obvious but keep in mind that one of your objectives is to become technically adept at producing the things that you learn on your instrument and in order to do that, you will have to commit yourself to the physical practicing of the instrument. You will also observe when working through this book how each chapter is almost a carbon copy of the next chapter except for the note names and their respective sounds and the different positions on the fingerboard that changes with every different major key. The student is advised to compare the chapters with one another to see and find the characteristics of the major keys. For example: If you look at the seven scale tone chords of any major key as triads you will see that the type of chord (whether major or minor) always adhere to the same arrangement: In a major key we will find that the first chord is always a major, the second chord is always a minor the third chord is always a minor, the fourth chord is always a major, the fifth chord is always a major, the sixth chord is always a minor and the seventh chord is always a diminished and this applies to all major keys. When you work slowly through the chapters in this book you will begin to conceptualize the application of theory on your bass and with a little persistence and before you know it you’ll have an extensive music vocabulary or a sort of information database that you can draw on when you play. Do not be put of by the jargon or terminology used in the theory because as you gradually work through every chapter you will come to terms with the important things. Once you have grasped and worked through the first chapter of this book, every subsequent chapter will also be easier because you will basically be doing the same stuff. Your ability to hear things in a musical context will also develop and your ear will automatically catch-up with the things you are doing and this facility to hear things will begin to subconsciously dictate what you want or need to do. Observe this phenomenon when it occurs and cultivate it further. When you work diligently through this book there will come a stage at some point when you’ll sit and practice and all of a sudden you’ll pick up a familiar tune and you’ll be able to play it or a close variation thereof. And then on another day you might be listening to one of your favorite tunes that’s maybe in the keys of D Major and A Major and as a result of your ability to now play in those two keys, you’ll be able to jam along with the music and improvise in these keys together with the tune or you will just create your own tunes and play your own music. Give it a couple of months and be patient. The first couple of months are difficult but only because everything is so new but once you have familiarized yourself with a couple of concepts things will quickly start to make sense.

P a g e | 15

Chapter 1 THE KEY OF C MAJOR The Notes The key of C MAJOR is derived from the C MAJOR SCALE. The notes of the C MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I C

II D

III E

IV F

V G

VI A

VII B

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the C MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

[NOTE: The focus here is not on reading music. The discipline of reading music will however be much easier to grasp once the basics of this series of books is understood and any aspiring musician should always be urged to learn how to read music].

The Bass Fingerboard On the bass fingerboard the notes of the C MAJOR SCALE shows up as follows and yes, this is also all the natural notes on the fingerboard:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of C MAJOR the first note or root note of each pattern will be the note C and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of C MAJOR that covers the whole extent of the fingerboard.

The Major Scale Patterns The three major scale patterns with the root note on the TOP STRING:

Pattern to the Left



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Pattern to the Left





Intervals

I C C

C

C

C

C

C

C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ B

⇩ C

Major second interval

Major third interval

Perfect fourth interval

Perfect fifth interval

Major sixth interval

Major seventh interval

Octave

P a g e | 17

II D D

D

D

D

D

D

D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D


Minor third interval (b3)




Minor seventh interval (b7)

E

E

E

E

E

E

E

⇩ F

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

Minor second interval (b2/b9)




Minor sixth interval (b6/b13)


Octave

F

F

F

F

F

F

F

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F



Augmented fourth interval (#4/#11)




Octave

Octave

III E

IV F

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V G G

G

G

G

G

G

G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G







Octave

A

A

A

A

A

A

A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A







Octave

B

B

B

B

B

B

B

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ B




Diminished fifth interval (b5)



Octave

VI A

VII B

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Harmony: The Scale Tone Chords (triads)

1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

C E G

D F A

E G B

F A C

G B D

A C E

B D F

I

C Major

1st

C

3rd

E

5th

G

II

D Minor

1st

D

3rd

F (b3)

5th

A

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III

E Minor

1st

E

3rd

G (b3)

5th

B

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IV

F Major

1st

F

3rd

A

5th

C

V

G Major

1st

G

3rd

B

5th

D

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VI

A Minor

1st

A

3rd

C (b3)

5th

E

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VII

1st

B Diminished

3rd

B

5th

D (b3)

F (b5)

Further Harmonization of the Scale Tone Chords in C Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

C Major Seventh

D Minor Seventh

E Minor Seventh

F Major Seventh

G7 (Seventh)

A Minor Seventh

B Minor Seven flat Five

C E G B

D F A C

E G B D

F A C E

G B D F

A C E G

B D F A

P a g e | 24

Chapter 2 THE KEY OF G MAJOR The Notes The key of G MAJOR is derived from the G MAJOR SCALE. The notes of the G MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I G

II A

III B

IV C

V D

VI E

VII F#

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the G MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the G MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of G MAJOR the first note or root note of each pattern will be the note G and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of G MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 25


Pattern to the Left





Intervals

I G G

G

G

G

G

G

G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F#

⇩ G







Octave

P a g e | 26

II A A

A

A

A

A

A

A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A







B

B

B

B

B

B

B

⇩ C

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B







Octave

C

C

C

C

C

C

C

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C







Octave

Octave

III B

IV C

P a g e | 27

V D D

D

D

D

D

D

D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D







Octave

E

E

E

E

E

E

E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E







Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F#







Octave

VI E

VII F#

P a g e | 28


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

G B D

A C E

B D F#

C E G

D F# A

E G B

F# A C

I

G Major

1st

G

3rd

B

5th

D

II

A Minor

1st

A

3rd

C (b3)

5th

E

P a g e | 29

III

B Minor

1st

B

3rd

D (b3)

5th

F#

P a g e | 30

IV

C Major

1st

C

3rd

E

5th

G

V

D Major

1st

D

3rd

F#

5th

A

P a g e | 31

VI

E Minor

1st

E

3rd

G (b3)

5th

B

P a g e | 32

VII

1st

F# Diminished

3rd

F#

5th

A (b3)

C (b5)

Further Harmonization of the Scale Tone Chords in G Major

1st 3rd 5th 7th

I

II

III

IV

V

VI

VII

G Major Seventh

A Minor Seventh

B Minor Seventh

C Major Seventh

D7 (Seventh)

E Minor Seventh

F# Minor Seven flat Five

G B D F#

A C E G

B D F# A

C E G B

D F# A C

E G B D

F# A C E

P a g e | 33

Chapter 3 THE KEY OF D MAJOR The Notes The key of D MAJOR is derived from the D MAJOR SCALE. The notes of the D MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I D

II E

III F#

IV G

V A

VI B

VII C#

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the D MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the D MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of D MAJOR the first note or root note of each pattern will be the note D and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of D MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 34


Pattern to the Left





Intervals

I D D

D

D

D

D

D

D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C#

⇩ D







Octave

P a g e | 35

II E E

E

E

E

E

E

E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E







F#

F#

F#

F#

F#

F#

F#

⇩ G

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#







Octave

G

G

G

G

G

G

G

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G







Octave

Octave

III F#

IV G

P a g e | 36

V A A

A

A

A

A

A

A

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A







Octave

B

B

B

B

B

B

B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B







Octave

C#

C#

C#

C#

C#

C#

C#

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C#







Octave

VI B

VII C#

P a g e | 37


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

D F# A

E G B

F# A C#

G B D

A C# E

B D F#

C# E G

I

D Major

1st

D

3rd

F#

5th

A

II

E Minor

1st

E

3rd

G (b3)

5th

B

P a g e | 38

III

F# Minor

1st

F#

3rd

A (b3)

5th

C#

P a g e | 39

IV

G Major

1st

G

3rd

B

5th

D

V

A Major

1st

A

3rd

C#

5th

E

P a g e | 40

VI

B Minor

1st

B

3rd

D (b3)

5th

F#

P a g e | 41

VII

1st

C# Diminished

C#

3rd

5th

E (b3)

G (b5)

Further Harmonization of the Scale Tone Chords in D Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

D Major Seventh

E Minor Seventh

F# Minor Seventh

G Major Seventh

A7 (Seventh)

B Minor Seventh

C# Minor Seven flat Five

D F# A C#

E G B D

F# A C# E

G B D F#

A C# E G

B D F# A

C# E G B

P a g e | 42

Chapter 4 THE KEY OF A MAJOR The Notes The key of A MAJOR is derived from the A MAJOR SCALE. The notes of the A MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I A

II B

III C#

IV D

V E

VI F#

VII G#

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the A MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the A MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of A MAJOR the first note or root note of each pattern will be the note A and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of A MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 43


Pattern to the Left





Intervals

I A A

A

A

A

A

A

A

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G#

⇩ A







Octave

P a g e | 44

II B B

B

B

B

B

B

B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B







C#

C#

C#

C#

C#

C#

C#

⇩ D

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#







Octave

D

D

D

D

D

D

D

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D







Octave

Octave

III C#

IV D

P a g e | 45

V E E

E

E

E

E

E

E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E







Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#







Octave

G#

G#

G#

G#

G#

G#

G#

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G#







Octave

VI F#

VII G#

P a g e | 46


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

A C# E

B D F#

C# E G#

D F# A

E G# B

F# A C#

G# B D

I

A Major

1st

A

3rd

C#

5th

E

II

B Minor

1st

B

3rd

D (b3)

5th

F#

P a g e | 47

III

C# Minor

1st

C#

3rd

E (b3)

5th

G#

P a g e | 48

IV

D Major

1st

D

3rd

F#

5th

A

V

E Major

1st

E

3rd

G#

5th

B

P a g e | 49

VI

F# Minor

1st

F#

3rd

A (b3)

5th

C#

P a g e | 50

VII

1st

G# Diminished

G#

3rd

5th

B (b3)

D (b5)

Further Harmonization of the Scale Tone Chords in A Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

A Major Seventh

B Minor Seventh

C# Minor Seventh

D Major Seventh

E7 (Seventh)

F# Minor Seventh

G# Minor Seven flat Five

A C# E G#

B D F# A

C# E G# B

D F# A C#

E G# B D

F# A C# E

G# B D F#

P a g e | 51

Chapter 5 THE KEY OF E MAJOR The Notes The key of E MAJOR is derived from the E MAJOR SCALE. The notes of the E MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I E

II F#

III G#

IV A

V B

VI C#

VII D#

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the E MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the E MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of E MAJOR the first note or root note of each pattern will be the note E and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of E MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 52


Pattern to the Left





Intervals

I E E

E

E

E

E

E

E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D#

⇩ E







Octave

P a g e | 53

II F# F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F#







G#

G#

G#

G#

G#

G#

G#

⇩ A

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#







Octave

A

A

A

A

A

A

A

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A







Octave

Octave

III G#

IV A

P a g e | 54

V B B

B

B

B

B

B

B

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B







Octave

C#

C#

C#

C#

C#

C#

C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#







Octave

D#

D#

D#

D#

D#

D#

D#

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D#







Octave

VI C#

VII D#

P a g e | 55


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

E G# B

F# A C#

G# B D#

A C# E

B D# F#

C# E G#

D# F# A

I

E Major

1st

E

3rd

G#

5th

B

II

F# Minor

1st

F#

3rd

A (b3)

5th

C#

P a g e | 56

III

G# Minor

1st

G#

3rd

B (b3)

5th

D#

P a g e | 57

IV

A Major

1st

A

3rd

C#

5th

E

V

B Major

1st

B

3rd

D#

5th

F#

P a g e | 58

VI

C# Minor

1st

C#

3rd

E (b3)

5th

G#

P a g e | 59

VII

1st

D# Diminished

D#

3rd

5th

F# (b3)

A (b5)

Further Harmonization of the Scale Tone Chords in E Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

E Major Seventh

F# Minor Seventh

G# Minor Seventh

A Major Seventh

B7 (Seventh)

C# Minor Seventh

D# Minor Seven flat Five

E G# B D#

F# A C# E

G# B D# F#

A C# E G#

B D# F# A

C# E G# B

D# F# A C#

P a g e | 60

Chapter 6 THE KEY OF B MAJOR The Notes The key of B MAJOR is derived from the B MAJOR SCALE. The notes of the B MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I B

II C#

III D#

IV E

V F#

VI G#

VII A#

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the B MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the B MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of B MAJOR the first note or root note of each pattern will be the note B and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of B MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 61


Pattern to the Left





Intervals

I B B

B

B

B

B

B

B

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A#

⇩ B







Octave

P a g e | 62

II C# C#

C#

C#

C#

C#

C#

C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C#







D#

D#

D#

D#

D#

D#

D#

⇩ E

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#







Octave

E

E

E

E

E

E

E

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E







Octave

Octave

III D#

IV E

P a g e | 63

V F# F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F#







Octave

G#

G#

G#

G#

G#

G#

G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#







Octave

A#

A#

A#

A#

A#

A#

A#

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A#







Octave

VI G#

VII A#

P a g e | 64


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

B D# F#

C# E G#

D# F# A#

E G# B

F# A# C#

G# B D#

A# C# E

I

B Major

1st

B

3rd

D#

5th

F#

II

C# Minor

1st

C#

3rd

E (b3)

5th

G#

P a g e | 65

III

D# Minor

1st

D#

3rd

F# (b3)

5th

A#

P a g e | 66

IV

E Major

1st

E

3rd

G#

5th

B

V

F# Major

1st

F#

3rd

A#

5th

C#

P a g e | 67

VI

G# Minor

1st

G#

3rd

B (b3)

5th

D#

P a g e | 68

VII

1st

A# Diminished

A#

3rd

5th

C# (b3)

E (b5)

Further Harmonization of the Scale Tone Chords in B Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

B Major Seventh

C# Minor Seventh

D# Minor Seventh

E Major Seventh

F#7 (Seventh)

G# Minor Seventh

A# Minor Seven flat Five

B D# F# A#

C# E G# B

D# F# A# C#

E G# B D#

F# A# C# E

G# B D# F#

A# C# E G#

P a g e | 69

Chapter 7 THE KEY OF F# MAJOR The Notes The key of F# MAJOR is derived from the F# MAJOR SCALE. The notes of the F# MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I F#

II G#

III A#

IV B

V C#

VI D#

VII E#

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the F# MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the F# MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of F# MAJOR the first note or root note of each pattern will be the note F# and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of F# MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 70


Pattern to the Left





Intervals

I F# F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E#

⇩ F#







Octave

P a g e | 71

II G# G#

G#

G#

G#

G#

G#

G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#







A#

A#

A#

A#

A#

A#

A#

⇩ B

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#







Octave

B

B

B

B

B

B

B

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B







Octave

Octave

III A#

IV B

P a g e | 72

V C# C#

C#

C#

C#

C#

C#

C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C#







Octave

D#

D#

D#

D#

D#

D#

D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#







Octave

E#

E#

E#

E#

E#

E#

E#

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E#







Octave

VI D#

VII E#

P a g e | 73


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

F# A# C#

G# B D#

A# C# E#

B D# F#

C# E# G#

D# F# A#

E# G# B

I

F# Major

1st

F#

3rd

A#

5th

C#

II

G# Minor

1st

G#

3rd

B (b3)

5th

D#

P a g e | 74

III

A# Minor

1st

A#

3rd

C# (b3)

5th

E#

P a g e | 75

IV

B Major

1st

B

3rd

D#

5th

F#

V

C# Major

1st

C#

3rd

E#

5th

G#

P a g e | 76

VI

D# Minor

1st

D#

3rd

F# (b3)

5th

A#

P a g e | 77

VII

1st

E# Diminished

E#

3rd

5th

G# (b3)

B (b5)

Further Harmonization of the Scale Tone Chords in F# Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

F# Major Seventh

G# Minor Seventh

A# Minor Seventh

B Major Seventh

C#7 (Seventh)

D# Minor Seventh

E# Minor Seven flat Five

F# A# C# E#

G# B D# F#

A# C# E# G#

B D# F# A#

C# E# G# B

D# F# A# C#

E# G# B D#

P a g e | 78

Chapter 8 THE KEY OF C# MAJOR The Notes The key of C# MAJOR is derived from the C# MAJOR SCALE. The notes of the C# MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I C#

II D#

III E#

IV F#

V G#

VI A#

VII B#

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the C# MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the C# MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of C# MAJOR the first note or root note of each pattern will be the note C# and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of C# MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 79


Pattern to the Left





Intervals

I C# C#

C#

C#

C#

C#

C#

C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B#

⇩ C#







Octave

P a g e | 80

II D# D#

D#

D#

D#

D#

D#

D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B#

⇩ C#

⇩ D#







E#

E#

E#

E#

E#

E#

E#

⇩ F#

⇩ G#

⇩ A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#







Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#







Octave

Octave

III E#

IV F#

P a g e | 81

V G# G#

G#

G#

G#

G#

G#

G#

⇩ A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#







Octave

A#

A#

A#

A#

A#

A#

A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#







Octave

B#

B#

B#

B#

B#

B#

B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B#







Octave

VI A#

VII B#

P a g e | 82


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

C# E# G#

D# F# A#

E# G# B#

F# A# C#

G# B# D#

A# C# E#

B# D# F#

I

C# Major

1st

C#

3rd

E#

5th

G#

II

D# Minor

1st

D#

3rd

F# (b3)

5th

A#

P a g e | 83

III

E# Minor

1st

E#

3rd

G# (b3)

5th

B#

P a g e | 84

IV

F# Major

1st

F#

3rd

A#

5th

C#

V

G# Major

1st

G#

3rd

B#

5th

D#

P a g e | 85

VI

A# Minor

1st

A#

3rd

C# (b3)

5th

E#

P a g e | 86

VII

1st

B# Diminished

B#

3rd

5th

D# (b3)

F# (b5)

Further Harmonization of the Scale Tone Chords in C# Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

C# Major Seventh

D# Minor Seventh

E# Minor Seventh

F# Major Seventh

G#7 (Seventh)

A# Minor Seventh

B# Minor Seven flat Five

C# E# G# B#

D# F# A# C#

E# G# B# D#

F# A# C# E#

G# B# D# F#

A# C# E# G#

B# D# F# A#

P a g e | 87

Chapter 9 THE KEY OF F MAJOR The Notes The key of F MAJOR is derived from the F MAJOR SCALE. The notes of the F MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I F

II G

III A

IV Bb

V C

VI D

VII E

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the F MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the F MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of F MAJOR the first note or root note of each pattern will be the note F and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of F MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 88


Pattern to the Left





Intervals

I F F

F

F

F

F

F

F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F







Octave

P a g e | 89

II G G

G

G

G

G

G

G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G







A

A

A

A

A

A

A

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A







Octave

Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ Bb







Octave

Octave

III A

IV Bb

P a g e | 90

V C C

C

C

C

C

C

C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C







Octave

D

D

D

D

D

D

D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D







Octave

E

E

E

E

E

E

E

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ E







Octave

VI D

VII E

P a g e | 91


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

F A C

G Bb D

A C E

Bb D F

C E G

D F A

E G Bb

I

F Major

1st

F

3rd

A

5th

C

II

G Minor

1st

G

3rd

Bb (b3)

5th

D

P a g e | 92

III

A Minor

1st

A

3rd

C (b3)

5th

E

P a g e | 93

IV

Bb Major

1st

Bb

3rd

D

5th

F

V

C Major

1st

C

3rd

E

5th

G

P a g e | 94

VI

D Minor

1st

D

3rd

F (b3)

5th

A

P a g e | 95

VII

1st

E Diminished

E

3rd

5th

G (b3)

Bb (b5)

Further Harmonization of the Scale Tone Chords in F Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

F Major Seventh

G Minor Seventh

A Minor Seventh

Bb Major Seventh

C7 (Seventh)

D Minor Seventh

E Minor Seven flat Five

F A C E

G Bb D F

A C E G

Bb D F A

C E G Bb

D F A C

E G Bb D

P a g e | 96

Chapter 10 THE KEY OF Bb MAJOR The Notes The key of Bb MAJOR is derived from the Bb MAJOR SCALE. The notes of the Bb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I Bb

II C

III D

IV Eb

V F

VI G

VII A

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the Bb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Bb MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of Bb MAJOR the first note or root note of each pattern will be the note Bb and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of Bb MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 97


Pattern to the Left





Intervals

I Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ Bb







Octave

P a g e | 98

II C C

C

C

C

C

C

C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C







D

D

D

D

D

D

D

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D







Octave

Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ Eb







Octave

Octave

III D

IV Eb

P a g e | 99

V F F

F

F

F

F

F

F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F







Octave

G

G

G

G

G

G

G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G







Octave

A

A

A

A

A

A

A

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ A







Octave

VI G

VII A

P a g e | 100


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

Bb D F

C Eb G

D F A

Eb G Bb

F A C

G Bb D

A C Eb

I

Bb Major

1st

Bb

3rd

D

5th

F

II

C Minor

1st

C

3rd

Eb (b3)

5th

G

P a g e | 101

III

D Minor

1st

D

3rd

F (b3)

5th

A

P a g e | 102

IV

Eb Major

1st

Eb

3rd

G

5th

Bb

V

F Major

1st

F

3rd

A

5th

C

P a g e | 103

VI

G Minor

1st

G

3rd

Bb (b3)

5th

D

P a g e | 104

VII

1st

A Diminished

A

3rd

5th

C (b3)

Eb (b5)

Further Harmonization of the Scale Tone Chords in Bb Major

1st 3rd 5th 7th

I

II

III

IV

V

VI

VII

Bb Major Seventh

C Minor Seventh

D Minor Seventh

Eb Major Seventh

F7 (Seventh)

G Minor Seventh

A Minor Seven flat Five

Bb D F A

C Eb G Bb

D F A C

Eb G Bb D

F A C Eb

G Bb D F

A C Eb G

P a g e | 105

Chapter 11 THE KEY OF Eb MAJOR The Notes The key of Eb MAJOR is derived from the Eb MAJOR SCALE. The notes of the Eb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I Eb

II F

III G

IV Ab

V Bb

VI C

VII D

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the Eb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Eb MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of Eb MAJOR the first note or root note of each pattern will be the note Eb and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of Eb MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 106


Pattern to the Left





Intervals

I Eb Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb







Octave

P a g e | 107

II F F

F

F

F

F

F

F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F







G

G

G

G

G

G

G

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G







Octave

Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ Ab







Octave

Octave

III G

IV Ab

P a g e | 108

V Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb







Octave

C

C

C

C

C

C

C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C







Octave

D

D

D

D

D

D

D

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ D







Octave

VI C

VII D

P a g e | 109


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

Eb G Bb

F Ab C

G Bb D

Ab C Eb

Bb D F

C Eb G

D F Ab

I

Eb Major

1st

Eb

3rd

G

5th

Bb

II

F Minor

1st

F

3rd

Ab (b3)

5th

C

P a g e | 110

III

G Minor

1st

G

3rd

Bb (b3)

5th

D

P a g e | 111

IV

Ab Major

1st

Ab

3rd

C

5th

Eb

V

Bb Major

1st

Bb

3rd

D

5th

F

P a g e | 112

VI

C Minor

1st

C

3rd

Eb (b3)

5th

G

P a g e | 113

VII

1st

D Diminished

D

3rd

5th

F (b3)

Ab (b5)

Further Harmonization of the Scale Tone Chords in Eb Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

Eb Major Seventh

F Minor Seventh

G Minor Seventh

Ab Major Seventh

Bb (Seventh)

C Minor Seventh

D Minor Seven flat Five

Eb G Bb D

F Ab C Eb

G Bb D F

Ab C Eb G

Bb D F Ab

C Eb G Bb

D F Ab C

P a g e | 114

Chapter 12 THE KEY OF Ab MAJOR The Notes The key of Ab MAJOR is derived from the Ab MAJOR SCALE. The notes of the Ab MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I Ab

II Bb

III C

IV Db

V Eb

VI F

VII G

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the Ab MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Ab MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of Ab MAJOR the first note or root note of each pattern will be the note Ab and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of Ab MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 115


Pattern to the Left





Intervals

I Ab Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab







Octave

P a g e | 116

II Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb







C

C

C

C

C

C

C

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C







Octave

Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db







Octave

Octave

III C

IV Db

P a g e | 117

V Eb Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb







Octave

F

F

F

F

F

F

F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F







Octave

G

G

G

G

G

G

G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ G







Octave

VI F

VII G

P a g e | 118


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

Ab C Eb

Bb Db F

C Eb G

Db F Ab

Eb G Bb

F Ab C

G Bb Db

I

Ab Major

1st

Ab

3rd

C

5th

Eb

II

Bb Minor

1st

Bb

3rd

Db (b3)

5th

F

P a g e | 119

III

C Minor

1st

C

3rd

Eb (b3)

5th

G

P a g e | 120

IV

Db Major

1st

Db

3rd

F

5th

Ab

V

Eb Major

1st

Eb

3rd

G

5th

Bb

P a g e | 121

VI

F Minor

1st

F

3rd

Ab (b3)

5th

C

P a g e | 122

VII

1st

G Diminished

G

3rd

5th

Bb (b3)

Db (b5)

Further Harmonization of the Scale Tone Chords in Ab Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

Ab Major Seventh

Bb Minor Seventh

C Minor Seventh

Db Major Seventh

Eb7 (Seventh)

F Minor Seventh

G Minor Seven flat Five

Ab C Eb G

Bb Db F Ab

C Eb G Bb

Db F Ab C

Eb G Bb Db

F Ab C Eb

G Bb Db F

P a g e | 123

Chapter 13 THE KEY OF Db MAJOR The Notes The key of Db MAJOR is derived from the Db MAJOR SCALE. The notes of the Db MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I Db

II Eb

III F

IV Gb

V Ab

VI Bb

VII C

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the Db MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Db MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of Db MAJOR the first note or root note of each pattern will be the note Db and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of Db MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 124


Pattern to the Left





Intervals

I Db Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ Db







Octave

P a g e | 125

II Eb Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb







F

F

F

F

F

F

F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F







Octave

Gb

Gb

Gb

Gb

Gb

Gb

Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb







Octave

Octave

III F

IV Gb

P a g e | 126

V Ab Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab







Octave

Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb







Octave

C

C

C

C

C

C

C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C







Octave

VI Bb

VII C

P a g e | 127


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

Db F Ab

Eb Gb Bb

F Ab C

Gb Bb Db

Ab C Eb

Bb Db F

C Eb Gb

I

Db Major

1st

Db

3rd

F

5th

Ab

II

Eb Minor

1st

Eb

3rd

Gb (b3)

5th

Bb

P a g e | 128

III

F Minor

1st

F

3rd

Ab (b3)

5th

C

P a g e | 129

IV

Gb Major

1st

Gb

3rd

Bb

5th

Db

V

Ab Major

1st

Ab

3rd

C

5th

Eb

P a g e | 130

VI

Bb Minor

1st

Bb

3rd

Db (b3)

5th

F

P a g e | 131

VII

1st

C Diminished

C

3rd

5th

Eb (b3)

Gb (b5)

Further Harmonization of the Scale Tone Chords in Db Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

Db Major Seventh

Eb Minor Seventh

F Minor Seventh

Gb Major Seventh

Ab7 (Seventh)

Bb Minor Seventh

C Minor Seven flat Five

Db F Ab C

Eb Gb Bb Db

F Ab C Eb

Gb Bb Db F

Ab C Eb Gb

Bb Db F Ab

C Eb Gb Bb

P a g e | 132

Chapter 14 THE KEY OF Gb MAJOR The Notes The key of Gb MAJOR is derived from the Gb MAJOR SCALE. The notes of the Gb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I Gb

II Ab

III Bb

IV Cb

V Db

VI Eb

VII F

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the Gb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Gb MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of Gb MAJOR the first note or root note of each pattern will be the note Gb and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of Gb MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 133


Pattern to the Left





Intervals

I Gb Gb

Gb

Gb

Gb

Gb

Gb

Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F

⇩ Gb







Octave

P a g e | 134

II Ab Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab







Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb







Octave

Cb

Cb

Cb

Cb

Cb

Cb

Cb

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb







Octave

Octave

III Bb

IV Cb

P a g e | 135

V Db Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db







Octave

Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb







Octave

F

F

F

F

F

F

F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F







Octave

VI Eb

VII F

P a g e | 136


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

Gb Bb Db

Ab Cb Eb

Bb Db F

Cb Eb Gb

Db F Ab

Eb Gb Bb

F Ab Cb

I

Gb Major

1st

Gb

3rd

Bb

5th

Db

II

Ab Minor

1st

Ab

3rd

Cb (b3)

5th

Eb

P a g e | 137

III

Bb Minor

1st

Bb

3rd

Db (b3)

5th

F

P a g e | 138

IV

Cb Major

1st

Cb

3rd

Eb

5th

Gb

V

Db Major

1st

Db

3rd

F

5th

Ab

P a g e | 139

VI

Eb Minor

1st

Eb

3rd

Gb (b3)

5th

Bb

P a g e | 140

VII

1st

F Diminished

F

3rd

5th

Ab (b3)

Cb (b5)

Further Harmonization of the Scale Tone Chords in Gb Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

Gb Major Seventh

Ab Minor Seventh

Bb Minor Seventh

Cb Major Seventh

Db7(Seventh)

Eb Minor Seventh

F Minor Seven flat Five

Gb Bb Db F

Ab Cb Eb Gb

Bb Db F Ab

Cb Eb Gb Bb

Db F Ab Cb

Eb Gb Bb Db

F Ab Cb Eb

P a g e | 141

Chapter 15 THE KEY OF Cb MAJOR The Notes The key of Cb MAJOR is derived from the Cb MAJOR SCALE. The notes of the Cb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:

I Cb

II Db

III Eb

IV Fb

V Gb

VI Ab

VII Bb

1/8

2/9

3/10

4/11

5/12

6/13

7

In written musical form the Cb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Cb MAJOR SCALE shows up as follows:

When we take the various major scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’. So in order to memorize the above sequence of notes we will start by learning the individual major scale patterns as indicated in the following section. In this chapter of Cb MAJOR the first note or root note of each pattern will be the note Cb and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of Cb MAJOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 142


Pattern to the Left





Intervals

I Cb Cb

Cb

Cb

Cb

Cb

Cb

Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb







Octave

P a g e | 143

II Db Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ Fb

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db







Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ Fb

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb







Octave

Fb

Fb

Fb

Fb

Fb

Fb

Fb

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb







Octave

Octave

III Eb

IV Fb

P a g e | 144

V Gb Gb

Gb

Gb

Gb

Gb

Gb

Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ Gb







Octave

Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ Gb

⇩ Ab







Octave

Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ Gb

⇩ Ab

⇩ Bb







Octave

VI Ab

VII Bb

P a g e | 145


1st 3rd 5th

I

II

III

IV

V

VI

VII

Major chord

Minor chord

Minor chord

Major chord

Major chord

Minor chord

Diminished chord

Cb Eb Gb

Db Fb Ab

Eb Gb Bb

Fb Ab Cb

Gb Bb Db

Ab Cb Eb

Bb Db Fb

I

Cb Major

1st

Cb

3rd

Eb

5th

Gb

II

Db Minor

1st

Db

3rd

Fb (b3)

5th

Ab

P a g e | 146

III

Eb Minor

1st

Eb

3rd

Gb (b3)

5th

Bb

P a g e | 147

IV

Fb Major

1st

Fb

3rd

Ab

5th

Cb

V

Gb Major

1st

Gb

3rd

Bb

5th

Db

P a g e | 148

VI

Ab Minor

1st

Ab

3rd

Cb (b3)

5th

Eb

P a g e | 149

VII

1st

Bb Diminished

Bb

3rd

5th

Db (b3)

Fb (b5)

Further Harmonization of the Scale Tone Chords in Cb Major

st

1 3rd 5th 7th

I

II

III

IV

V

VI

VII

Cb Major Seventh

Db Minor Seventh

Eb Minor Seventh

Fb Major Seventh

Gb7 (Seventh)

Ab Minor Seventh

Bb Minor Seven flat Five

Cb Eb Gb Bb

Db Fb Ab Cb

Eb Gb Bb Db

Fb Ab Cb Eb

Gb Bb Db Fb

Ab Cb Eb Gb

Bb Db Fb Ab

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