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Page |1Page |2 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. Page |3 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:
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24 Chapter 3 THE KEY OF D MAJOR Pg. 87 Pg. 42 The Notes Pg. 141 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. 69 Pg. 123 Chapter 14 THE KEY OF Gb MAJOR Pg. 5 Chapter 1 THE KEY OF C MAJOR Pg.Page |4 CONTENTS INTRODUCTION Objective – The Major Scale Patterns – Comments on Fingerings – Comments on Technique – Comments on Improvisation – The First Lesson – A Final Word Pg. 114 Chapter 13 THE KEY OF Db MAJOR Pg. 78 Pg. 51 The Bass Fingerboard Pg. 105 . 96 Further Harmonization of the Scale Tone Chords Pg. 15 Chapter 2 THE KEY OF G MAJOR Pg. 60 The Major Scale Patterns Intervals Harmony: The Scale Tone Chords (triads) Pg. 132 Chapter 15 THE KEY OF Cb MAJOR Pg. 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. Ideally. 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. 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. 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. The Major Scale Patterns In this book 1 of the series. In order to learn a particular major key and how to play within that major key. 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. The application of any major scale on the bass . Furthermore. 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. Learning how the MAJOR KEYS are applied on your instrument is of the utmost importance. So. it will certainly be worth your while and serve as a valuable aid on your musical journey and in learning your instrument. When you see a chord – you learn it by playing it. An aid for the bass teacher – In that it illustrates the theory that will be taught. you will be shown how major keys are applied on the bass. 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.Page |5 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. you will need to learn that key’s major scale. 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. So your first goal should be to learn everything about the MAJOR KEYS and learn to play in all the MAJOR KEYS. So. When you see a major scale pattern – you learn it by playing it. Some method books especially for the bass. 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. When you see an interval – you learn it by playing it. Or as an additional utility or reference-guide for the advanced bass student – With hundreds of diagrams and photographs for reference purposes. 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. and I suppose only if you are serious about music. In practice. 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. 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. 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. 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. let’s start. Music is a complex art form and it will require all of your faculties (mental – aural – technique) to produce a musical effect. 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. or to merely familiarize yourself with a couple of musical concepts. 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. When you play each one of these patterns you will hear that familiar Do-Re-Mi-Fa-Sol-La-Ti-Do sound. in the center and to the right. . 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 Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Now. is the single string pattern that can and must be played on all four strings. 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. It is important that you know your instrument well and learn to play all over the fingerboard in a particular key. 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 |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. 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. 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. The first three patterns start with the root note on the top string and covers the fingerboard to the left. The diagrams here and throughout the series illustrate your viewpoint when you’re holding the bass]. 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. 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. 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. 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. 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. These patterns should be memorized visually in form.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. where the ‘picture’ or pattern of one major key looks exactly the same (visually) as the ‘picture’ or pattern of any other major key. these patterns that serve as a ‘ROADMAP’ must be played like its second nature. Each and every ‘ROADMAP OF THE MAJOR SCALE OR KEY’ produced by linking the major scale patterns. also numerically and it is also important that the note names of each particular major scale are memorized as well. 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. 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. When we think of music and the function of these patterns. The subsequent notes calculated in a major scale sequence from any given starting point will bring about that starting point’s major key. This ability to sing or hum the note that you play is excellent ear training and you should develop this skill. In other words. 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. This repetition makes it just a little easier to learn the instrument. It is the position of the notes and their note names and their respective sounds that differentiate one key from the other. riffs. This incident occurs on instruments like the guitar and bass purely by their design. it is best explained when we observe the improvisational musician like a Jazz bassist who would create melodies. By memorizing is not only meant the mental aspect of learning the pattern. 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. remains the same in visual form to any other individual major key – a kind of mirror effect that takes place. And then finally concerning this topic. Just make sure you sing in tune with the notes you’re playing. . In other words. 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). first memorize these patterns physically (technique) and then improvise around it. 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. 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. 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. 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. two fingers. three fingers and four fingers. Then play the above sub-patterns with combinations of two fingers: Index – Middle Index – Ring Index – Pinkie Middle – Ring Middle – Pinkie Ring – Pinkie 3. it is best understood when we subdivide these patterns into the following three ‘sub-patterns’. 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. 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.Page |8 Comments on Fingerings To immediately grasp the correct fingerings of the major scale patterns or any pattern for that matter. [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. Start by playing the above sub-patterns with only one finger. . 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. 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. but all four fingers individually: Index Middle Ring Pinkie 2. who recommended this method for learning and exploring single string playing]. 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. 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. 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. 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. 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.Page |9 Comments on Technique With regards to the hand that presses against the fingerboard you may take note of the following. These fingers should appear ‘spread’ equally over the fingerboard. 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. The following photographs will illustrate the general correct positioning of the hand and fingers from the front just to give you an idea: . 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. Observe the following sequence of photographs where I play that first major scale pattern while striving for that economy of movement. your fingers should more or less already be in position with the notes that come into play. Over time your strength and the intensity (volume) with which you play the notes will increase. middle and ring finger quite comfortably when I play but predominantly I use my index. 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 . 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. I therefore use my thumb. middle and ring finger in the traditional sense of playing the bass guitar.P a g e | 10 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. [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. 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. index. 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. 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.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. Here are a few photographs of my right hand that plays the strings from various angles to give you some tips: . 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 . Apply this when you start to practice the major scale patterns. 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. 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. middle or ring you should pluck the string with.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. 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. 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. The remaining notes on the fingerboard will be the sharpened or flattened variations of these seven notes. Start by learning all the natural notes first A B C D E F G. very important. And then the bottom string (G) and learn all the . 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. Now.P a g e | 13 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. 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. For example: The key signature of G Major is the note F# and the key signature of Bb Major is Bb and Eb. However. 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. This is very. Then the third string (D) and learn all the natural notes. that’s the musical alphabet basically. 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). practicing and playing]. 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. This sharpened or flattened note (or notes) is called the key signature of that particular key. Then the second string (A) and learn all the natural notes first. Take four weeks. 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. 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. what you as the student need to do is to apply the things that are shown to you. 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. so this is a perfect fourth interval and approach all the other topics in the same fashion. Take your time. The student is advised to compare the chapters with one another to see and find the characteristics of the major keys. like playing with a single finger and sliding from one natural note to the other. you must then take your bass and apply this and play these two notes and listen and observe and say to yourself. the fifth chord is always a major. Remember. 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. Develop a warm-up exercise for learning the notes on a single string utilizing all four fingers. the sixth chord is always a minor and the seventh chord is always a diminished and this applies to all major keys. 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. okay. . 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. 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. 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. 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. Incorporate some of that finger articulation exercises while you learn. the fourth chord is always a major. 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. Once you have grasped and worked through the first chapter of this book. a string a week. in order to play music. Give it a couple of months and be patient. 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. 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. 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. you will have to commit yourself to the physical practicing of the instrument. the second chord is always a minor the third chord is always a minor. every subsequent chapter will also be easier because you will basically be doing the same stuff. 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.P a g e | 14 natural notes first. 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. The Bass Fingerboard On the bass fingerboard the notes of the C MAJOR SCALE shows up as follows and yes. 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 Major Scale Patterns 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 .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. we’ll get the above ‘picture’ of the key of C MAJOR that covers the whole extent of the fingerboard. 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. 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’. 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. P a g e | 16 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern 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 Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) E E E E E E E ⇩ F ⇩ G ⇩ A ⇩ B ⇩ C ⇩ D ⇩ E Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave F F F F F F F ⇩ G ⇩ A ⇩ B ⇩ C ⇩ D ⇩ E ⇩ F Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval Octave Octave III E IV F . P a g e | 18 V G G G G G G G G ⇩ A ⇩ B ⇩ C ⇩ D ⇩ E ⇩ F ⇩ G Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave A A A A A A A ⇩ B ⇩ C ⇩ D ⇩ E ⇩ F ⇩ G ⇩ A Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave B B B B B B B ⇩ C ⇩ D ⇩ E ⇩ F ⇩ G ⇩ A ⇩ B Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI A VII B . P a g e | 19 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 . P a g e | 20 III E Minor 1st E 3rd G (b3) 5th B . P a g e | 21 IV F Major 1st F 3rd A 5th C V G Major 1st G 3rd B 5th D . P a g e | 22 VI A Minor 1st A 3rd C (b3) 5th E . P a g e | 23 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 . 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. 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. 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’. we’ll get the above ‘picture’ of the key of G 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 Pattern in the Center Pattern to the Right .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. P a g e | 25 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I G G G G G G G G ⇩ A ⇩ B ⇩ C ⇩ D ⇩ E ⇩ F# ⇩ G Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 26 II A A A A A A A A ⇩ B ⇩ C ⇩ D ⇩ E ⇩ F# ⇩ G ⇩ A Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) B B B B B B B ⇩ C ⇩ D ⇩ E ⇩ F# ⇩ G ⇩ A ⇩ B Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave C C C C C C C ⇩ D ⇩ E ⇩ F# ⇩ G ⇩ A ⇩ B ⇩ C Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave E E E E E E E ⇩ F# ⇩ G ⇩ A ⇩ B ⇩ C ⇩ D ⇩ E Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave F# F# F# F# F# F# F# ⇩ G ⇩ A ⇩ B ⇩ C ⇩ D ⇩ E ⇩ F# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI E VII F# . P a g e | 28 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 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. The Major Scale Patterns 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 P a g e | 34 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I D D D D D D D D ⇩ E ⇩ F# ⇩ G ⇩ A ⇩ B ⇩ C# ⇩ D Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave P a g e | 35 II E E E E E E E E ⇩ F# ⇩ G ⇩ A ⇩ B ⇩ C# ⇩ D ⇩ E Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) F# F# F# F# F# F# F# ⇩ G ⇩ A ⇩ B ⇩ C# ⇩ D ⇩ E ⇩ F# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave G G G G G G G ⇩ A ⇩ B ⇩ C# ⇩ D ⇩ E ⇩ F# ⇩ G Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave B B B B B B B ⇩ C# ⇩ D ⇩ E ⇩ F# ⇩ G ⇩ A ⇩ B Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave C# C# C# C# C# C# C# ⇩ D ⇩ E ⇩ F# ⇩ G ⇩ A ⇩ B ⇩ C# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI B VII C# . P a g e | 37 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 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 . The Major Scale Patterns 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 . 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. 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.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. we’ll get the above ‘picture’ of the key of A MAJOR that covers the whole extent of the fingerboard. P a g e | 43 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I A A A A A A A A ⇩ B ⇩ C# ⇩ D ⇩ E ⇩ F# ⇩ G# ⇩ A Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 44 II B B B B B B B B ⇩ C# ⇩ D ⇩ E ⇩ F# ⇩ G# ⇩ A ⇩ B Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) C# C# C# C# C# C# C# ⇩ D ⇩ E ⇩ F# ⇩ G# ⇩ A ⇩ B ⇩ C# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave D D D D D D D ⇩ E ⇩ F# ⇩ G# ⇩ A ⇩ B ⇩ C# ⇩ D Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave F# F# F# F# F# F# F# ⇩ G# ⇩ A ⇩ B ⇩ C# ⇩ D ⇩ E ⇩ F# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave G# G# G# G# G# G# G# ⇩ A ⇩ B ⇩ C# ⇩ D ⇩ E ⇩ F# ⇩ G# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI F# VII G# . P a g e | 46 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 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# . 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’. The Major Scale Patterns 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 .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. 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. P a g e | 52 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I E E E E E E E E ⇩ F# ⇩ G# ⇩ A ⇩ B ⇩ C# ⇩ D# ⇩ E Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 53 II F# F# F# F# F# F# F# F# ⇩ G# ⇩ A ⇩ B ⇩ C# ⇩ D# ⇩ E ⇩ F# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) G# G# G# G# G# G# G# ⇩ A ⇩ B ⇩ C# ⇩ D# ⇩ E ⇩ F# ⇩ G# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave A A A A A A A ⇩ B ⇩ C# ⇩ D# ⇩ E ⇩ F# ⇩ G# ⇩ A Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave C# C# C# C# C# C# C# ⇩ D# ⇩ E ⇩ F# ⇩ G# ⇩ A ⇩ B ⇩ C# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave D# D# D# D# D# D# D# ⇩ E ⇩ F# ⇩ G# ⇩ A ⇩ B ⇩ C# ⇩ D# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI C# VII D# P a g e | 55 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 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# . 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. The Major Scale Patterns 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 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’.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. we’ll get the above ‘picture’ of the key of B MAJOR that covers the whole extent of the fingerboard. 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. P a g e | 61 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I B B B B B B B B ⇩ C# ⇩ D# ⇩ E ⇩ F# ⇩ G# ⇩ A# ⇩ B Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 62 II C# C# C# C# C# C# C# C# ⇩ D# ⇩ E ⇩ F# ⇩ G# ⇩ A# ⇩ B ⇩ C# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) D# D# D# D# D# D# D# ⇩ E ⇩ F# ⇩ G# ⇩ A# ⇩ B ⇩ C# ⇩ D# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave E E E E E E E ⇩ F# ⇩ G# ⇩ A# ⇩ B ⇩ C# ⇩ D# ⇩ E Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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# Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave G# G# G# G# G# G# G# ⇩ A# ⇩ B ⇩ C# ⇩ D# ⇩ E ⇩ F# ⇩ G# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave A# A# A# A# A# A# A# ⇩ B ⇩ C# ⇩ D# ⇩ E ⇩ F# ⇩ G# ⇩ A# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI G# VII A# . P a g e | 64 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 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# . we’ll get the above ‘picture’ of the key of F# MAJOR that covers the whole extent of the fingerboard.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’. 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. The Major Scale Patterns 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 . 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. P a g e | 70 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I F# F# F# F# F# F# F# F# ⇩ G# ⇩ A# ⇩ B ⇩ C# ⇩ D# ⇩ E# ⇩ F# Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 71 II G# G# G# G# G# G# G# G# ⇩ A# ⇩ B ⇩ C# ⇩ D# ⇩ E# ⇩ F# ⇩ G# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) A# A# A# A# A# A# A# ⇩ B ⇩ C# ⇩ D# ⇩ E# ⇩ F# ⇩ G# ⇩ A# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave B B B B B B B ⇩ C# ⇩ D# ⇩ E# ⇩ F# ⇩ G# ⇩ A# ⇩ B Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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# Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave D# D# D# D# D# D# D# ⇩ E# ⇩ F# ⇩ G# ⇩ A# ⇩ B ⇩ C# ⇩ D# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave E# E# E# E# E# E# E# ⇩ F# ⇩ G# ⇩ A# ⇩ B ⇩ C# ⇩ D# ⇩ E# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI D# VII E# . P a g e | 73 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 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. 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. we’ll get the above ‘picture’ of the key of C# MAJOR that covers the whole extent of the fingerboard. 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’. 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. The Major Scale Patterns 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 . P a g e | 79 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern 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 | 80 II D# D# D# D# D# D# D# D# ⇩ E# ⇩ F# ⇩ G# ⇩ A# ⇩ B# ⇩ C# ⇩ D# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) E# E# E# E# E# E# E# ⇩ F# ⇩ G# ⇩ A# ⇩ B# ⇩ C# ⇩ D# ⇩ E# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave F# F# F# F# F# F# F# ⇩ G# ⇩ A# ⇩ B# ⇩ C# ⇩ D# ⇩ E# ⇩ F# Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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# Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave A# A# A# A# A# A# A# ⇩ B# ⇩ C# ⇩ D# ⇩ E# ⇩ F# ⇩ G# ⇩ A# Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave B# B# B# B# B# B# B# ⇩ C# ⇩ D# ⇩ E# ⇩ F# ⇩ G# ⇩ A# ⇩ B# Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI A# VII B# . P a g e | 82 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# . 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 Major Scale Patterns 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 . 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. 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. we’ll get the above ‘picture’ of the key of F MAJOR that covers the whole extent of the fingerboard. 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’. P a g e | 88 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I F F F F F F F F ⇩ G ⇩ A ⇩ Bb ⇩ C ⇩ D ⇩ E ⇩ F Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 89 II G G G G G G G G ⇩ A ⇩ Bb ⇩ C ⇩ D ⇩ E ⇩ F ⇩ G Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) A A A A A A A ⇩ Bb ⇩ C ⇩ D ⇩ E ⇩ F ⇩ G ⇩ A Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Bb Bb Bb Bb Bb Bb Bb ⇩ C ⇩ D ⇩ E ⇩ F ⇩ G ⇩ A ⇩ Bb Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave D D D D D D D ⇩ E ⇩ F ⇩ G ⇩ A ⇩ Bb ⇩ C ⇩ D Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave E E E E E E E ⇩ F ⇩ G ⇩ A ⇩ Bb ⇩ C ⇩ D ⇩ E Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI D VII E . P a g e | 91 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 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 . 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. 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’. The Major Scale Patterns 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 . 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.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. P a g e | 97 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I Bb Bb Bb Bb Bb Bb Bb Bb ⇩ C ⇩ D ⇩ Eb ⇩ F ⇩ G ⇩ A ⇩ Bb Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 98 II C C C C C C C C ⇩ D ⇩ Eb ⇩ F ⇩ G ⇩ A ⇩ Bb ⇩ C Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) D D D D D D D ⇩ Eb ⇩ F ⇩ G ⇩ A ⇩ Bb ⇩ C ⇩ D Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Eb Eb Eb Eb Eb Eb Eb ⇩ F ⇩ G ⇩ A ⇩ Bb ⇩ C ⇩ D ⇩ Eb Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave G G G G G G G ⇩ A ⇩ Bb ⇩ C ⇩ D ⇩ Eb ⇩ F ⇩ G Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave A A A A A A A ⇩ Bb ⇩ C ⇩ D ⇩ Eb ⇩ F ⇩ G ⇩ A Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI G VII A . P a g e | 100 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 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. 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. 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’. 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. The Major Scale Patterns 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 . P a g e | 106 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I Eb Eb Eb Eb Eb Eb Eb Eb ⇩ F ⇩ G ⇩ Ab ⇩ Bb ⇩ C ⇩ D ⇩ Eb Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 107 II F F F F F F F F ⇩ G ⇩ Ab ⇩ Bb ⇩ C ⇩ D ⇩ Eb ⇩ F Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) G G G G G G G ⇩ Ab ⇩ Bb ⇩ C ⇩ D ⇩ Eb ⇩ F ⇩ G Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Ab Ab Ab Ab Ab Ab Ab ⇩ Bb ⇩ C ⇩ D ⇩ Eb ⇩ F ⇩ G ⇩ Ab Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave C C C C C C C ⇩ D ⇩ Eb ⇩ F ⇩ G ⇩ Ab ⇩ Bb ⇩ C Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave D D D D D D D ⇩ Eb ⇩ F ⇩ G ⇩ Ab ⇩ Bb ⇩ C ⇩ D Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI C VII D . P a g e | 109 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 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 . The Major Scale Patterns 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 .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. 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. 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’. we’ll get the above ‘picture’ of the key of Ab MAJOR that covers the whole extent of the fingerboard. 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. P a g e | 115 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I Ab Ab Ab Ab Ab Ab Ab Ab ⇩ Bb ⇩ C ⇩ Db ⇩ Eb ⇩ F ⇩ G ⇩ Ab Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 116 II Bb Bb Bb Bb Bb Bb Bb Bb ⇩ C ⇩ Db ⇩ Eb ⇩ F ⇩ G ⇩ Ab ⇩ Bb Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) C C C C C C C ⇩ Db ⇩ Eb ⇩ F ⇩ G ⇩ Ab ⇩ Bb ⇩ C Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Db Db Db Db Db Db Db ⇩ Eb ⇩ F ⇩ G ⇩ Ab ⇩ Bb ⇩ C ⇩ Db Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave F F F F F F F ⇩ G ⇩ Ab ⇩ Bb ⇩ C ⇩ Db ⇩ Eb ⇩ F Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave G G G G G G G ⇩ Ab ⇩ Bb ⇩ C ⇩ Db ⇩ Eb ⇩ F ⇩ G Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI F VII G . P a g e | 118 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 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 . The Major Scale Patterns 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 . 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. 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.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. we’ll get the above ‘picture’ of the key of Db MAJOR that covers the whole extent of the fingerboard. 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’. P a g e | 124 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I Db Db Db Db Db Db Db Db ⇩ Eb ⇩ F ⇩ Gb ⇩ Ab ⇩ Bb ⇩ C ⇩ Db Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 125 II Eb Eb Eb Eb Eb Eb Eb Eb ⇩ F ⇩ Gb ⇩ Ab ⇩ Bb ⇩ C ⇩ Db ⇩ Eb Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) F F F F F F F ⇩ Gb ⇩ Ab ⇩ Bb ⇩ C ⇩ Db ⇩ Eb ⇩ F Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Gb Gb Gb Gb Gb Gb Gb ⇩ Ab ⇩ Bb ⇩ C ⇩ Db ⇩ Eb ⇩ F ⇩ Gb Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave Bb Bb Bb Bb Bb Bb Bb ⇩ C ⇩ Db ⇩ Eb ⇩ F ⇩ Gb ⇩ Ab ⇩ Bb Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave C C C C C C C ⇩ Db ⇩ Eb ⇩ F ⇩ Gb ⇩ Ab ⇩ Bb ⇩ C Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI Bb VII C . P a g e | 127 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 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 . 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’. The Major Scale Patterns 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 . 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.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. we’ll get the above ‘picture’ of the key of Gb MAJOR that covers the whole extent of the fingerboard. P a g e | 133 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I Gb Gb Gb Gb Gb Gb Gb Gb ⇩ Ab ⇩ Bb ⇩ Cb ⇩ Db ⇩ Eb ⇩ F ⇩ Gb Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 134 II Ab Ab Ab Ab Ab Ab Ab Ab ⇩ Bb ⇩ Cb ⇩ Db ⇩ Eb ⇩ F ⇩ Gb ⇩ Ab Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Bb Bb Bb Bb Bb Bb Bb ⇩ Cb ⇩ Db ⇩ Eb ⇩ F ⇩ Gb ⇩ Ab ⇩ Bb Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Cb Cb Cb Cb Cb Cb Cb ⇩ Db ⇩ Eb ⇩ F ⇩ Gb ⇩ Ab ⇩ Bb ⇩ Cb Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave Eb Eb Eb Eb Eb Eb Eb ⇩ F ⇩ Gb ⇩ Ab ⇩ Bb ⇩ Cb ⇩ Db ⇩ Eb Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave F F F F F F F ⇩ Gb ⇩ Ab ⇩ Bb ⇩ Cb ⇩ Db ⇩ Eb ⇩ F Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI Eb VII F . P a g e | 136 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 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 . 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. we’ll get the above ‘picture’ of the key of Cb 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 Pattern in the Center Pattern to the Right . 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.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’. P a g e | 142 The three major scale patterns with the root note on the SECOND STRING: Pattern to the Left Pattern in the Center Pattern to the Right The single string major scale pattern with the root note on ALL FOUR STRINGS: Single String Pattern Intervals I Cb Cb Cb Cb Cb Cb Cb Cb ⇩ Db ⇩ Eb ⇩ Fb ⇩ Gb ⇩ Ab ⇩ Bb ⇩ Cb Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Major seventh interval Octave . P a g e | 143 II Db Db Db Db Db Db Db Db ⇩ Eb ⇩ Fb ⇩ Gb ⇩ Ab ⇩ Bb ⇩ Cb ⇩ Db Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Eb Eb Eb Eb Eb Eb Eb ⇩ Fb ⇩ Gb ⇩ Ab ⇩ Bb ⇩ Cb ⇩ Db ⇩ Eb Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Fb Fb Fb Fb Fb Fb Fb ⇩ Gb ⇩ Ab ⇩ Bb ⇩ Cb ⇩ Db ⇩ Eb ⇩ Fb Major second interval Major third interval Augmented fourth interval (#4/#11) Perfect fifth interval Major sixth interval Major seventh interval 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 Major second interval Major third interval Perfect fourth interval Perfect fifth interval Major sixth interval Minor seventh interval (b7) Octave Ab Ab Ab Ab Ab Ab Ab ⇩ Bb ⇩ Cb ⇩ Db ⇩ Eb ⇩ Fb ⇩ Gb ⇩ Ab Major second interval Minor third interval (b3) Perfect fourth interval Perfect fifth interval Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave Bb Bb Bb Bb Bb Bb Bb ⇩ Cb ⇩ Db ⇩ Eb ⇩ Fb ⇩ Gb ⇩ Ab ⇩ Bb Minor second interval (b2/b9) Minor third interval (b3) Perfect fourth interval Diminished fifth interval (b5) Minor sixth interval (b6/b13) Minor seventh interval (b7) Octave VI Ab VII Bb . P a g e | 145 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 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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