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MARTYNKRÜGEL’S 

BASSMANUAL 

Book 1: Major Keys

FREE ELECTRONIC PDF VERSION 1.2 

NOT FOR SALE This is a COMPLIMENTARY Internet e-book

First draft completed 2007 – Revised and updated 2008 – Version 1.2 updated for 2010

Copyright © by Martyn Krügel 2007 onwards

 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, remains the property of Martyn Krügel.

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FOREWORDMy motive for compiling a series of this nature stems from my experience in that every aspiring musician that Iever came into contact with, who basically could not play their particular instrument, was as a direct result of notknowing the application of music theory on that instrument. A few of these aspiring musicians could produce a

musical effect  – but only because they perchance, by hearing or copying, stumbled upon a ‘valid’ concept or could play a couple of chords  – but their overall musical aptitude paled in comparison to those who had even just the least bit of knowledge of music theory. I’m referring to my own personal experience here too and it wasonly once I was introduced to the most basic rudiments of music theory and the application thereof on myinstrument  – that my musical journey truly began. What this series of books will communicate to the newaspiring bassist is just exactly how this theory is applied on the instrument so that he or she can then begin their study of the bass guitar in a correct manner.

I intentionally wanted to present the theory very simply, that the information at hand, intimidates no one. Anaspiring student who might have a certain aversion to an emphasis on music theory because it sounds tooacademic will have no problem in working through these books because the music theory is plainly presentedwith absolutely no frills attached.

 Another reason for presenting a series like this is that there are quite a number of method type books targeted

at the beginner in the marketplace today. Some of these books attempt to teach the beginner licks or riffs or grooves to be played, but almost always fail in presenting the new bassist with a real workable knowledge of theinstrument because the information is not presented in a proper musical context. Only once you know a little bitof music theory will you be able to decipher the exercises in such method books and unearth some value from itor be in a position to assess whether it contains any value at all. In addition, and only if you are serious aboutmusic, I would just like to point out that any book or program that claims to have some kind of quick fix or  ‘ Ten Easy S teps’ 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 beto find a good music mentor who can teach and show the student the application of music theory  – together with

some first hand playing experience  – and a mentor who can delve a little deeper into the greater intricacies of musical articulation and expression and performance and who can also cultivate a greater philosophicalunderstanding within the student of what constitutes a good musical effect. My suggestion to a new bassstudent would always be to seek out a good Jazz guitarist or a good Jazz bassist as a teacher, even if thestudent’s interests are in other styles of music.

The theory as it is presented in this Bass Manual Series deals more with the What  to play than the How to play   – a task that can be best performed by a music teacher  – but if you the student can make a couple of astuteobservations with regards to the How to play  aspect of playing by observing other already proficient bassplayers then this What to play  – Bass Manual will certainly stand you in good stead.

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Together with being introduced to the theory when I started out, there was another very important factor thathelped me tremendously in learning how to play the bass guitar and especially coming to terms with theapplication of the theory on the instrument and that was being introduced to the concept of  Improvisation  inmusic. Improvisation allows you to apply the theory you learn almost instantaneously on your instrument in apractical and musical sense and it is also a very enjoyable and a highly regarded musical skill. The course of action that I therefore suggest you take in working through these books is to begin with learning andunderstanding the theory, for example  – learning a given major scale pattern  – to then memorize and learn ittechnically by playing it over and over  – and to then improvise around that scale pattern that you have just

learned. I guess the first thing a new bassist who has grasped the above will do is to play a bit of walking bassaround a scale in an improvisational manner by playing different notes in a random order all around that pattern.

Improvisation in music is a vast topic and it will be well worth your while to investigate Improvisational Music or better yet, seek out a teacher that is well versed in the art of  Improvisational Music . Yet, you can almost startimprovising immediately because to put it very bluntly Improvisation means that you can basically play anythinghowever  – it must be in a musical context – in other words, applying the theory on your instrument and only thenyou can begin that never-ending search to better articulate and express musical ideas on your instrument. Asyour understanding and technique improve you will be able to play and express better musical ideas andimprovise more melodically and musically as you progress, but again  – first you need to know the theory andthat is why I present you with this Bass Manual Series.

If you are an absolute beginner please take note that it will take you quite some time to work through this book

and that is only because you are presented with so much information – it is suppose to take you a long time  – soplease be patient. Memorizing and applying all this information on your instrument  – in other words learning tophysically play the scales and in the major keys takes a long time. Give yourself to begin with at least four months (a month per chapter) to cover the Introduction and the first three chapters. After that, you will have abetter idea of how and at what speed to proceed. If you can commit yourself to learning and understanding andapplying (playing) the information of the Introduction and the first three chapters you will lay a solid foundationon which you can then further build.

The information that is presented here in this presentation needs to be applied on your instrument before itcomes alive. Just looking at hundreds of diagrams of the bass fingerboard will accomplish very little and if youhave a quick glance at the contents of this book you will see that all these diagrams makes the overallappearance rather bland. The diagrams merely illustrate what you need to do and where you need to play andit is the actual application of this information that needs to be applied on your instrument  – in other words – You 

will have to play this information into existence on your bass guitar .

In music it only feels if you truly understand something when you can play it on your instrument but you will haveto practice quite a bit at first before you can play something and in the beginning practicing feels a bit awkwardbecause everything is so new. But if you persevere and practice a lot, you will quickly grasp the application of the theory and begin to understand how by knowing the theory, just how this knowledge will assist you in playingand improvising and how it is that this is the proper way to learn an instrument.

Well, I hope my Bass Manual Series will be of some benefit to you and good luck with your musical endeavors.

Regards,

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CONTENTS

INTRODUCTIONObjective – The Major Scale Patterns – Comments on Fingerings – Comments on Technique – Comments on Improvisation – The First

Lesson – A Final Word

Pg. 6

Chapter 1 THE KEY OF C MAJOR

The Notes

The Bass Fingerboard

The Major Scale Patterns

Intervals

Harmony: The Scale Tone Chords

(triads)

Further Harmonization of the ScaleTone Chords

Pg. 19

Chapter 2 THE KEY OF G MAJOR Pg. 31

Chapter 3 THE KEY OF D MAJOR Pg. 40

Chapter 4 THE KEY OF A MAJOR Pg. 49

Chapter 5 THE KEY OF E MAJOR Pg. 58

Chapter 6 THE KEY OF B MAJOR Pg. 67

Chapter 7 THE KEY OF F# MAJOR Pg. 76

Chapter 8 THE KEY OF C# MAJOR Pg. 85

Chapter 9 THE KEY OF F MAJOR Pg. 94

Chapter 10 THE KEY OF Bb MAJOR Pg. 103

Chapter 11 THE KEY OF Eb MAJOR Pg. 112

Chapter 12 THE KEY OF Ab MAJOR Pg. 121

Chapter 13 THE KEY OF Db MAJOR Pg. 130

Chapter 14 THE KEY OF Gb MAJOR Pg. 139

Chapter 15 THE KEY OF Cb MAJOR Pg. 148

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INTRODUCTION

ObjectiveThe purpose of this Bass Manual Series  is to present MUSIC THEORY as it is applied on the four string bassguitar in the simplest and most logical manner possible. This presentation uses an abundant array of visualizations of the bass fingerboard, as the means of conveying information to the beginner who has nomusical vocabulary and thus finds it easier to be initially aided by these illustrations. This series was also

particularly designed to give a really comprehensive overview of music theory in the hope that when the Whole  is presented to the new student – that 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 thebass guitar.

An aid for the music teacher  – In that it illustrates the theory that will be taught.

And – As an additional reference-guide for the advanced bass student  – With hundreds of diagrams andphotographs for reference purposes.

Music is a complex art form and it will require all of your faculties (mental  – aural  – technique) to produce amusical effect. An all-important component of music is the theory thereof and it is by learning and knowing howthis theory is applied on the instrument and then by practicing this theory over and over, that we can train anddevelop these faculties to produce a musical effect  – and this is then also why the study of music theory serves

as our point of departure 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 diligentlyworked through the first chapter of this book and you are now able to identify the key of C Major on your instrument and you are now technically able to play within this key because you have practiced the various Cmajor scale patterns persistently on your bass, it will henceforth be much easier to play any piece of music thatis in the key of C Major or even improvise along with any tune in the key of C Major because you will bereferring to and applying the information that you have already learned. The biggest obstacle that aspiringmusicians encounter at this stage is probably just the inability to conceptualize how much practicing needs to bedone because it is such an enormous amount of practicing that is required especially of the beginner  – so youthe student, must persevere.

 Anyhow, now that you know that it will be required of you to practice a lot you can take some comfort in the fact

that doing the theory is actually 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 alsothe overall quality of your practice and the enjoyment of practicing will be greatly enhanced. And remember thateven though this emphasis on music theory sounds a bit studious quite the opposite is true because the way tolearn the 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  – youlearn it by playing it. So, let’s start.

The Major Scale PatternsIn 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 probably the single mostimportant thing. Once you come to terms with the application of the MAJOR KEYS on yourinstrument you will quickly come to terms with a lot of musical concepts and also everythingelse in all the other books of this series. So your first goal should be to learn everything aboutthe MAJOR KEYS and learn to play in all the MAJOR KEYS. Please invest a considerableamount of time in learning and understanding the MAJOR KEYS before you move on to theother books in this series.

The chapters in this book correspond to all of the individual major keys that we find in music theory and everychapter will deal with a specific major key only. In order to learn a particular major key and how to play withinthat major key, you will need to learn that key’s major scale because the major scale is the foundation of themajor key. The application of any major scale on the bass fingerboard is in practice quite simple because all

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you need to do is to basically memorize the following set patterns as illustrated in the diagrams below. The firstthree patterns start with the root note on the top string and cover the fingerboard to the left, in the center and tothe right. Then we have three almost identical patterns but with the root note or starting point on the secondstring and then finally and a very important pattern, is the single string pattern that can and must be played onall 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 isthe sound of a major scale and you will also observe how extensively these patterns cover the fingerboard and

also how  – when we combine these patterns  – just how the major key is formed over the fingerboard. Thesemajor scale patterns must be memorized and you must learn to play them all over the bass. The major scalepatterns 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 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, when we take these major scale patterns and we LINK them over the fingerboard – it will form a kindof ‘MAJOR SCALE OR MAJOR KEY ROADMAP’ across the entire surface of the fingerboard in which youcan then play and improvise  – once learned. So basically you will be learning and memorizing or programming yourself with an inbuilt fingerboard navigation system.   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 (especially in a linear way) is absolutely essential and should be a naturalpart of your playing ability and the single string pattern will assist you in doing this and in playing thesepatterns 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 willonly 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 SCALEthat 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 thenagain produces the KEY OF E MAJOR when all the patterns starting on the note E are linked and so forth.

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  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 tobe 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 thesepatterns fluently on the bass technically in an ascending and descending manner or any other possiblevariation whatsoever. In other words, these patterns that serve as a ‘ROADMAP’ must be played like itssecond 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 youplay is good training and you should develop this skill.

Each and every ‘ROADMAP OF THE MAJOR SCALE OR KEY’ produced by linking the major scalepatterns, remains the same in visual form to any other individual major key  – a kind of mirror effect thattakes 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-effect makes it just a little easier to learn the instrument. The subsequent notescalculated in a major scale sequence from any given sta rting 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 thisstarting point is also called the KEY TONALITY. It is the position of the notes and their note names andtheir respective sounds that differentiate one key from the other.

And concerning this topic, just bear in mind that the ability to play a pattern up and down fluently is not themusic just yet (but it will be the first objective in terms of technique and in learning your instrument) . Whenwe think of music and the function of these patterns, it is best explained when we observe theimprovisational musician like a Jazz bassist who would create melodies, riffs, licks and musical themesspontaneously within these patterns by playing an assortment of different note selections and rhythmicvariations within these patterns that has already been committed to memory. In other words, first memorizethese patterns physically (technique) and then improvise around it. These patterns should be memorizedvisually in form, also numerically and it is also important that the note names of each particular major scaleare memorized as well. When you do all this practicing you will automatically train your ear and begin todevelop your aural sense and also the ability to hear the relationship between sounds for example hearingthe difference between a tone and a semitone being played.

Before we continue I would just like to take a moment and point out and make a distinction between threeconcepts that you have just been introduced too. The first concept is that of the Major Scale, the secondconcept is that of the Major Key and the third concept is that of the Patterns. I think it is best if I give you atable containing a few notes just to make clear this differentiation:

The Major Scale 

The major scale is a scale consisting of seven notes and a scale in music (and to define itvery simply) is basically just an arrangement of notes in a particular order. There are many

other scales in music with their own names and every other scale will have its notesarranged in a different sequence producing a different sounding scale and effect but let usfor now just focus on the major scale.

In the above picture we get a perfect depiction of how a major scale will appear over asingle string and we can also observe the arrangement of the seven notes of the major scale very clearly in this depiction. When we talk about the arrangement of the notes of ascale we are referring to the distances between the notes of the scale in the sequentialorder of that scale.

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The Major Key 

With the seven notes of the major scale you can do quite a bit. You can build intervals onevery degree of the major scale using all the other notes within the scale. You can alsobuild chords on every degree of the major scale using the same principal so I basically lookat the major key as the sum result of what you could possibly do with the seven notes of themajor scale. In terms of my instrument when I look at my fingerboard and when I apply theseven notes of the major scale over the entire playing surface, I view that whole picture thatis formed – as the major key – even though I’m only playing the seven basic notes of themajor scale.

The Major Scale Patterns 

Our objective is to learn how to play in a major key but when we apply and combine themajor scale over the entire surface of the fingerboard we will see that this complete picturethat is then formed will be quite difficult to memorize and learn. So what we do is we dividethat complete picture into smaller parts or segments to create smaller blueprints that wecan then visually memorize and learn (individually to start with) and once we have learnedthese smaller patterns we can then combine them to form the bigger and complete pictureof the major key over the entire playing surface of our instruments. And then these smaller sections in terms of a major key become the major scale patterns that you will be presentedwith in this book. This way of thinking can be easily adapted to the five string bass – allyou need to do is to add a fifth string on every diagram in these books to complete thepicture. Because the guitar is so similar to the bass guitar all a guitarist needs to do is toadd two strings onto every diagram in this book. When you apply the major scales on other instruments like a piano for instance other types of visualizations will occur. The purpose of the patterns is just a visual reference guide of where to play and a starting point in learningyour instrument.

The above description is very basic and it is just something that you should be vaguely aware of for now for thepurpose of working through this book. If you would like to know more about exactly how it is that the major scale and keys came into existence in modern music I suggest that you research the topic further  – your locallibrary will be a good place to start where you will find books by the academia and by much more knowledgeableauthors than the humble writer here.

This is a practical book that contains all of the major keys that we find in music theory  – so what I do in everychapter is to present you with a particular major scale that you then learn  – then I give you the major scalepatterns of how that major scale can be played on your fingerboard and then you practice those patterns over and over until your fingers bleed and a little more. And once you know the position of the patterns on your fingerboard and can play the patterns fluently you must then link the patterns to form the complete picture of themajor key over the entire surface of the fingerboard. Then you proceed and do a couple more chapters and

learn to play in a couple more major keys before the complete realization of what it is to play in a major key willmanifest itself and only once this realization occurs will you say to yourself  – Oh, now I know what this guy is trying to say . In other words, to fully comprehend the theory requires the practical application of the theory onyour instrument, first. Even after you have read this introductory chapter everything will still seem a bit vagueand this is only because you haven’t actually started to apply the information as it is given in chapters 1 to 15 onyour instrument yet.

So, to begin with, all that is required of you  – is a bit of blind faith  – so that you can just tackle the first threechapters of this book and get it over and done with  – but do this slowly and do this with intent. Once you havecompleted this – then recap the Introduction and the first three chapters again and only then things will begin tomake sense. For now, don’t think too much about all the things that you don’t understand – just do the stuff as itis presented in this book so that you can start to make music and practice a lot and don’t post comments on theInternet saying that you don’t know what’s happening if the only thing you did was to have a quick glance at this

Introduction and only looked at all the diagrams. I’ve said it before and I’ll say it again – just looking at all thesediagrams will accomplish absolutely nothing  – the sole purpose of these diagrams is to convey information thatyou must apply on your instrument by playing and practicing that information and only then you begin to learnwhat it is you apply on your instrument. You will have to play these patterns up and down (to begin with) for hours upon hours and once you can play these patterns up and down fluently you can then begin to link thepatterns and begin to improvise and play around these patterns. There are no shortcuts. If you want to be areal musician it will require a tremendous effort on your part together with being well acquainted with theinformation that is presented here in this book. A huge percentage of the music that you are listening to rightnow – occurs within these major keys. If you have been struggling to play along with the music that you listen toit is only because you haven’t yet acquainted yourself properly with the information that is presented here in thisbook.

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Comments on FingeringsTo immediately grasp the correct fingerings of the major scale patterns or any pattern for that matter, it is bestunderstood 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 pressesagainst 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:IndexMiddleRingPinkie

2. Then play the above sub-patterns with combinations of two fingers:Index – MiddleIndex – RingIndex – PinkieMiddle – RingMiddle – PinkieRing – Pinkie

3. Then play combinations of three fingers:Index – Middle – RingIndex – 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 articulationwhen 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 whenplaying the pattern that covers the fingerboard to the left will be with the pinkie on the root note with thehand 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 bewith the middle finger on the root note with the hand then perfectly in position to cover this part of thefingerboard that comes into play.

The ideal finger to start with when playing the pattern that covers the fingerboard to the right will be with

the index finger on the root note with the hand then perfectly in position to cover that part of thefingerboard 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 calledAdvancing Guitarist by Mick Goodrick  – published by Hal Leonard . This book is about learning and exploring singlestring playing on the guitar with the intent to view the guitar more in a linear way – an approach even more applicableand suitable to the bass guitar. It will certainly be worth your while to have a look at this book – in fact, this book is soimportant that it is not really negotiable – you will just have to buy a copy.]

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Comments on TechniqueWith regards to the hand that presses against the fingerboard you may take note of the following. Make surethat it is your thumb and only your thumb that is pressed against the back of the fingerboard and that it issituated close to the middle of the back of the neck of the bass. Don’t rely on pressing your palm against theback of the neck to accommodate for strength because your hand will just ‘choke’ the neck of your bass and thiswill seriously hinder your movement. In the beginning this might feel just a bit uncomfortable and this is perfectbecause 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 theoutset position your hand correctly when you play and to do technical exercises of the major scale patterns allover the bass for example. Strength and coordination will develop over time but it is important to starttechnically correct and to then attain the strength necessary to play  – through regular practice and by practicingthe major scale patterns over and over and over. Here are a few photographs just to give you a general ideaand 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 beplayed 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 themost 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 fromthe 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 thefingerboard to the left and have determined the correct fingerings according to the section that deals with FingerArticulation and start practicing this pattern, your fingers should more or less already be in position with thenotes that come into play. Observe the following sequence of photographs where I play that first major scalepattern while striving for that economy of movement. [One photo for every degree of the pattern ascending anddescending]:

1st

Degree 2n

Degree 3r

Degree 4t

Degree 5t

Degree

6 Degree 7 Degree 8 Degree 9 Degree 8 Degree

7 Degree 6 Degree 5 Degree 4 Degree 3r

Degree

2n

Degree 1st

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 technicalexercises to develop your strength and coordination and stay relaxed. To begin with I suggest that you startwith the three sub-patterns as discussed in the previous section with the correct fingerings and play these threesub-patterns as technical exercises all over the bass before you start with the major scale patterns. Over timeyour 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 analmost 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 inthe traditional sense of playing the bass guitar. I personally do not rest any part of my hand or fingers on anypart of the body of the bass as I have developed sufficient strength in my fingers and wrist to play any note at

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

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When you do the technical exercise of playing the three sub-patterns you will notice that it is quite easy to seethe 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 scalepatterns. You may also as a technical exercise play the four strings with your right hand only and play variousrhythms on the open strings to develop strength and coordination. The thing about technique is that it reallytakes 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 start slowly and to practice with intent. Here is asequence of photographs illustrating the chromatic exercise that you must do all over the bass up and down andon 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 ImprovisationIMPORTANT NOTICE: The new aspiring musician should just take a moment

and think about and conceptualize the notion of IMPROVISATION in the contextof 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 owninterpretation and further investigation

 Accents Phrasing Arpeggios Relaxation Note Repetition

Tempo Speed Note Selection Taking Risks Volume

Beat Melody Trills ListeningFinger 

 Articulation

Coordination Legato Intervals Timing Single String

 Amplitude Pizzicato Modes Syncopation Chords

Rhythms ArticulationQuestion & 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 LessonThe 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 remainingnotes on the fingerboar d will be the sharpened or flattened variations of these seven notes. You’ve mostprobably already heard musicians’ talk of tones and semitones. On the bass and similarly the guitar fingerboarda semitone is the distance of one fret and a tone is the distance of two frets. A sharpened note is indicated bythe symbol {#} and is a semitone (one fret) higher than the natural note. A flattened note is indicated by thesymbol {b} and is a semitone (one fret) lower than the natural note. A sharpened note like the note F# ispronounced 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 samepitch and when this occurs these notes are called enharmonic notes. However, when you learn the notes of themajor 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 withflat key signatures. An additional tip that you can observe in memorizing the note names of the major scales isthat the major scale always adhere to an alphabetical sequence with the variations indicated by the sharpenedor flattened note (or notes). This sharpened or flattened note (or notes) is called the key signature of thatparticular key. For example: The key signature of G Major is the note F# and the key signature of Bb Major isBb and Eb.

Now, the easiest way to learn all the notes on the fingerboard is to learn the notes string for string. Start withthe top string (E) and learn all the natural notes first. Then the second string (A) and learn all the natural notesfirst. Then the third string (D) and learn all the natural notes. And then the bottom string (G) and learn all thenatural notes first. Take your time. Take four weeks, a string a week. Incorporate some of that finger 

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12 Degrees in the Octave 

When you look at your instrument and you look at the distance between one starting pointto the octave of that starting point you’ll find that there is a division of 12 degrees or semitones or notes within that distance and this distance is called an octave. Looking atthe picture below of the major scale pattern over a single string we can see this division of the 12 semitones or frets before we get to the octave of the root note again. So basicallyin music we have a total of 12 notes and it is these 12 notes that gets repeated in a higher and lower range all over your and other instruments. This will also make clear how themajor scale with its 7 notes is a particular arrangement of notes within the 12 degrees. If 

you add or subtract a note or sharpen or flatten any one of the 7 notes of the major scalethe arrangement will be changed and another type of scale will then be formed. In theother books of this series you will be presented with some of these other scales. I like tolook at the arrangement of the 7 note major scale pattern within the 12 notes of the octaveas:

TONE TONE SEMITONE TONE TONE SEMITONE

(space of a)  – TONE

15 Major Keys 

Now the reason why there is a set number of major keys is because in every new key wewill be shifting to a new starting point within this range of 12 notes that will produce a newmajor key. However, if you look at the contents of this book you will see that there are 15major keys. The reason for this is  – and you’ll remember that a little earlier I mentionedthat the notes Ab and G# are notes with the same pitch and that such notes are called

enharmonic notes. This phenomenon also occurs in a couple of the major keys and Iguess you could call these enharmonic keys. So the key of Ab Major and the key of G#Major to use the above example will occur at the exact same place on your fingerboard. Alot of musicians talk about the 12 major keys and if you look at it in a practical sense andat the 12 notes within the octave on your fingerboard then that is correct but it is better toknow and learn the theoretically correct 15 keys as it is presented in this book. For someor other reason musicians are always looking for shortcuts and it is these shortcuts thatconfuses everyone because everyone has their own shortcuts. I don’t like shortcuts and Iwould like for you to learn and apply all the keys as it is presented in this book starting withthe key of C Major with all its natural notes followed by all the keys with sharp key-signatures followed by all the keys with flat key-signatures. Learning it this way andlearning it all makes it easier to understand the theory in its entirety.

Musical Alphabet 

 A little earlier I also mentioned that the musical alphabet consists of 7 notes – A B C D E F

G – but like I’ve just explained in music we have a total of 12 notes within the octave – butby now you are aware that the remaining notes within the 12 notes of the octave will benamed after the sharpened or flattened variations of these 7 notes and that a couple of these notes are called enharmonic notes because they have the same pitch and appear atthe same place on your fingerboard.

Starting with C Major

When you look at the musical alphabet you might think that our point of departure in termsof learning the major keys will be the note A because A is the alphabetical starting point in

the alphabet but in music it is just a little bit different. In music our point of departure whenwe begin to learn the major keys will be C. The key of C Major with its C Major Scale isthe only key where all the notes are natural  – in other words the C Major Scale has nosharpened or flattened notes and this is probably then the reason why the new musician isalways at the outset presented with this particular major scale. The familiar phrase or terminology Do-Re-Mi-Fa-Sol-La-Ti-Do that we have all heard before is in fact just theItalian vocal syllables denoted to the C Major Scale and means exactly C-D-E-F-G-A-B-C.

The first chapter in this book starts then also with the key of C Major with all its naturalnotes. This is then followed with all the keys with sharp key-signatures and this is thenfollowed by all the keys with flat key-signatures. You will also notice that the chaptersfollow a kind of chronological order in terms of the number of notes that is sharpened or flattened in the key-signature. In other words – following the first chapter of C Major willbe the second chapter of G Major with 1 sharpened note in its key-signature – followed bythe third chapter of D Major with 2 sharpened notes in its key-signature  – followed by thefourth chapter of A Major with 3 sharpened notes in its key-signature and this continuesuntil we get to the 8

thchapter of C# Major with 7 sharpened notes in its key-signature. In

Chapter 9 we begin with the keys with flat key-signatures and the key of F Major with 1flattened note in its key-signature – followed by the tenth chapter of Bb Major with its key-

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signature of 2 flattened notes until we get to Chapter 15 of Cb Major with 7 flattened notesin its key-signature. Another possible way to work through this book would be to start withChapter 1 (not-negotiable) and to then start with the two keys that has 1 note in its key-signature i.e. G Major and F Major and basically follow the order as outlined below takinginto account how many notes a particular key-signature contains. So after you have doneChapter 1 you can then do Chapter 2 and then do Chapter 9 and then do Chapter 3 andthen do Chapter 10 and to carry on until you have done all the 15 keys.

Chapter 1 C Major  – All natural notes (Start with this key)Keys with # key-signatures Keys with b key-signatures

Number of notes in thekey-signature

Chapter 2 G Major Chapter 9 F Major 1Chapter 3 D Major Chapter 10 Bb Major 2Chapter 4 A Major Chapter 11 Eb Major 3Chapter 5 E Major Chapter 12 Ab Major 4Chapter 6 B Major Chapter 13 Db Major 5Chapter 7 F# Major Chapter 14 Gb Major 6Chapter 8 C# Major Chapter 15 Cb Major 7

 Anyhow, you will still have work through all the keys – so whatever suits you will be fine.

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Chapter 1THE KEY OF C MAJOR 

The NotesThe key of  C MAJOR is derived from the C MAJOR SCALE. The notes of the C MAJOR SCALE may bepresented as follows with a numerical value attributed to each note:

I II III IV V VI VIIC D E F G A 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 book is understood and any aspiring musician should always be urged to learn how to read music.]

The Bass FingerboardOn the bass fingerboard the notes of the C MAJOR SCALE shows up as follows and yes, this is also all thenatural 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of C MAJOR the first note or root note of each pattern will bethe 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. 

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The Major Scale PatternsThe 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

Notes on practicing the major scale patterns:

In the Introduction you were advised to learn the position of the note names on your fingerboard first andforemost. As a result of this you should now be able to pinpoint the various positions of the C note (the startingpoint and root note – in this first chapter) all over your fingerboard so that you can apply the above major scalepatterns over your fingerboard and identify just exactly where the patterns will fit over your fingerboard in theKey of C Major. I can still remember the days when I started learning and practicing the major scale patterns inthe Key of C Major and we all begin by learning and playing these patterns up and down for hours upon hours.One of the things that struck me as an interesting development at that time was just how much more time Ispent practicing all of a sudden. This is another benefit of doing the theory  – in this instance, learning to playthe C Major Scale all over the fingerboard. In the above diagrams there are seven major scale patterns and if you are a new student it is easy to anticipate now, how you can spend almost seven hours (allocating an hour to

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a pattern) practicing in a single day  – and then doing this for a couple of days. Having said that, it is best todevelop your own system to learn and memorize (the position and shapes of the patterns  – the note names  – and the numerical value of the scale) and to practice these patterns until you can play them very fluently. Keepyour focus on playing the patterns technically correct and start slowly. The technical aspect of learning andplaying the pattern may be just a bit tedious but once you have the pattern memorized remember that you canthen start improvising around that pattern and that basically means  – making your own music by creating littlemelodies or riffs within that pattern  – so you will be doing what you intended at the outset to do and that is toplay something on your instrument and by improvising you will already achieve this.

Remember that the seven major scale patterns serve as a starting point to learn the major key. Once you canplay all seven patterns fluently you must then link the patterns to form the bigger ‘picture’ of the major key. Youcan start by playing one pattern down and then move towards the next pattern to get into position to play thatpattern up and so forth. Once you can link all the patterns with one another you will have a visual referenceguide to the whole major key all over the fingerboard and that is your objective. I’m sure that a little light will goof in your head the day you can identify the complete picture of the major key over the fingerboard in which youcan then play and improvise. Remember that even though the individual patterns has a tendency to give you avertical and segmented view of the fingerboard, the best way to view the fingerboard is in a horizontal or linear way. That is why the single string pattern is so very important. The single string pattern really opens up thefingerboard and must be learned on all four strings individually to start with. Once you can play and identify thesingle string pattern on a single string, play the single string patterns in combinations of two strings and thenthree strings and then all four strings. Following is a brief summary of how you can proceed practicing the

seven major scale patterns – Use this in conjunction with your own ideas and try to develop your own system.

1. Learn the individual major scale patterns technically and visually memorize the patterns. Review the sectionin the Introduction that deals with Finger Articulation and Comments on Technique. Play the patterns upand down until you can play the patterns fluently. Play the patterns with one finger and then two fingers andthen three fingers and then all four fingers and find and develop your own technical exercises to learn andplay the patterns.

2. Memorize the note names of the major scale and the numerical value of the major scale.3. Give special attention and observe the starting point or root note of the major scale patterns.4. Learning these patterns at first will take some time but as you proceed things will become easier because

the shape of the patterns remain the same in every other major key – it is just the starting point that shifts toa new position.

5. Link the patterns. Remember that the individual patterns serve as a starting point only so we don’t want to

view the fingerboard in segments. Our objective is to see the full picture of the major key over the full lengthof the fingerboard. Remember to learn and apply the patterns an octave above (beyond the twelfth fret).6. You can get really creative when learning and practicing the single string patterns. Again, have a look at the

section on Finger Articulation – play with one finger only – then two – then three – and then four. Play onthe two top strings only – then the middle two strings only – and then the bottom two strings only – and after that play on three strings only using the single string pattern as your reference all the time in the particular major key. Remember to play the single string pattern up and down (horizontally) across the fingerboard.Slide from one note to the next. Do some hammer-ons and pull-offs. Find your own little musical ideas andexpressions.

 And then finally  – remember that the modus operandi is to learn the theory and then apply it by practicing anddeveloping your technique and only then, to start playing and improvising and making up your own melodiesand riffs and finding ways to express musical ideas. In the Foreword I suggested that you (if you are anabsolute beginner) spend approximately a month on a chapter to begin with. Because there is so much to do,maybe you will still not be too comfortable with the first chapter of the Key of C Major after only a month – butdon’t worry. After that month, go on to chapter two and do the Key of G Major. After another month, go on anddo chapter three and the Key of D Major. After that, take some time to review everything you have done upuntil then and I’m confident that at that time (and it happens all of a sudden) you will grasp the concept of playing in a major key. When this conceptualization occurs you will have a lot more confidence proceeding andremember to learn and play in all the major keys as it is given in the chapters of this book. After another coupleof months when you have worked through most of the keys you will be able to do a bit of jamming along with themusic that you listen to and be able to identify when you play together with the tunes  – what key the tunes are inthat you listen too.

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Intervals

I

CC  C  C  C  C  C  C 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D E F G A B C 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

II

D

D  D  D  D  D  D  D 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E F G A B C D 

Major second

interval

Minor third

interval (b 3)

Perfect fourth

interval

Perfect fifth

interval

Major sixth

interval

Minor seventh

interval (b 7)

Octave

III

E

E  E  E  E  E  E  E 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F G A B C D E 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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IV

FF  F  F  F  F  F  F 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G A B C D E F 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

V

G

G  G  G  G  G  G  G 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A B C D E F G 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

VI

A

A  A  A  A  A  A  A 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ 

B C D E F G A Major second

intervalMinor third

interval (b 3)Perfect fourth

intervalPerfect fifth

interval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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VII

B

B  B  B  B  B  B  B 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C D E F G A B 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

Notes on practicing intervals:

Once you can play all the major scale patterns and identify the patterns on the fingerboard you can then move

on to learn the intervals, as given in the above diagrams. When you practice and play the major scale patternsin a major key – the emphasis is on playing singular notes. When you begin learning and practicing and playingthe intervals – the emphasis will be on playing two notes. You can either play the intervals in unison or you canbreak the interval up and play the two notes separately – but still only play the two notes making up the interval.

Start by learning the interval names as it is given in this section and indentify and practice the intervals on your instrument and study all the intervals calculated from every degree of the major scale. After that, learn andpractice all the Second Intervals (only) in the key  – and observe and differentiate between Minor and MajorSecond Intervals. Then do the same and practice and differentiate all the Third Intervals  – then all the FourthIntervals  – then all the Fifth Intervals  – then all the Sixth Intervals  – then all the Seventh Intervals  – and theOctaves.

The easiest way to learn and practice the intervals would be to utilize the single string pattern. When you apply

the single string pattern over two strings (for the two notes of the interval) on the bass guitar you will find thefollowing combinations of two strings:

Two adjacent strings [two top strings – two middle strings – two bottom strings]

Top string and the third string

Top string and the bottom string

The second string and the bottom stringUsing the single string major scale pattern as indicated above, practice and play all the intervals. Again startwith playing (and in groups of) all the Seconds – Thirds – Fourths – Fifths – Sixths – Sevenths – Octaves upand down the two single strings with the root note of the interval on the upper string and remember todifferentiate between the intervals for example  – a Minor or Major Third Interval when you practice a group of intervals.

The intervals beyond the octave are called Compound Intervals and you must practice and play these too.

Beyond the interval of the octave (8) the numeric value of the major scale continues (9  – 10 – 11 – 12 – 13) andit is this numeric value that is used to name these Compound Intervals.

In practice and for example, it has become common to refer to the ninth degree that is flattened (the octave of the minor second interval) to refer to that interval as a (b9  – or a flattened ninth interval) or in the case of araised eleventh (the octave of an augmented fourth interval) to refer to that interval as a (#11  – or a sharpeleventh interval) or in the case of a flattened thirteenth (the octave of a minor sixth interval) to refer to thatinterval as a (b13 – or a flattened thirteenth interval). In practice I refer to the tenth interval still as either amajor or minor third and the same with the twelfth interval referring to it as either a perfect or flattened(diminished) fifth interval. The construction and naming of chords as dealt with in Book 5 will shed more light onthis because it explains how intervals are used to build and name chords.

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  C D E F G A B

3rd  E F G A B C D5th  G A B C D E FNotes on practicing the scale tone chords:

Observe how we go about studying the major key. First we start by learning the major scale patterns with theemphasis on playing singular notes within the key (in practice you can look at this as the melodic aspect of playing) – then we learn the intervals with the emphasis on two notes  – and now we will learn to play the scaletone chords with the emphasis now on three notes (the most basic chord) and this three note chord can also becalled a triad. The three notes of the chord can either be played in unison or you can play these notesseparately – in music we refer to this as playing the chord Arpeggiated, when we play the individual notes of thechord separately and in succession.

 A chord can be built upon every degree of the seven degrees of the major scale (that will f it into and is particular to the specific major key) and these seven chords are called the Scale  Tone Chords of the Key. Theindividual notes of the major scale will be the root note of these seven chords and to build the most basic chord(the triad) we must add the third and the fifth intervals (that we learned in the previous section) on the degrees(notes) of the major scale. Note that it is the third and fifth interval of every degree of the major scale. The typeof third and the type of fifth interval that will be added on every degree of the major scale will be made clear inthe following diagram – and I will use the key of C Major as an example:

First we take the individual notes of the major scale and these notes will become the root notes of the sevenscale tone chords that we build and for now we are only building triads:

C D E F G A BThen we add the respective third intervals within the original major scale:

E F G A B C DThis is a

MAJOR 3rd

 interval

This is aMINOR 3

rd 

interval

This is aMINOR 3

rd 

interval

This is aMAJOR 3

rd 

interval

This is aMAJOR 3

rd 

interval

This is aMINOR 3

rd 

interval

This is aMINOR 3

rd 

interval And then to complete the chord we add the respective fifth intervals that we find in terms of the original major scale:

G A B C D E FThis is a

PERFECT5

thinterval

This is aPERFECT5

thinterval

This is aPERFECT5

thinterval

This is aPERFECT5

thinterval

This is aPERFECT5

thinterval

This is aPERFECT5

thinterval

This is aDIMINISHED

5th

interval

If you look at the seven scale tone chords of any major key as triads you will see that the type of chord (whether a major or minor) will always follow the same arrangement: In a major key you 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 isalways a Major, the fifth chord is always a Major, the sixth chord is always a Minor and the seventh chord isalways a Diminished type chord – and this arrangement applies to all the major keys so you should memorizethis arrangement as soon as possible. It is also common practice to use roman numerals to identify the scaletone cords of a key.

I II III IV V VI VIIC Major D Minor E Minor F Major G Major A Minor B Diminished

Book 5 of this series deals with chords in great detail and I suggest that you now first read the Introduction of book 5 to get some insight on how chords are constructed together with some additional tips on practicingchords that you can then also apply to learn and play the scale tone chords.

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In the following diagrams of the seven scale tone chords I have given you ALL the triad chord voicings (variousways to play the same chord) on the fingerboard and my guide for finding all these voicings was my ability toview the instrument in a horizontal (linear) manner. When you learn and study the chords use your knowledgeof single string playing together with your knowledge of how the intervals appear on a single string to build thechords in a key.

I C Major 1st  C  3rd  E  5th  G 

II D Minor 1st  D  3rd  F (b 3) 5th  A 

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III E Minor 1st  E  3rd  G (b 3) 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 (b 3) 5th  E 

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VII B Diminished 1st

  B  3rd

  D (b 3) 5th

  F (b 5)

Further Harmonization of the Scale Tone Chords in C Major

I II III IV V VI VIIC Major Seventh

D Minor Seventh

E Minor Seventh

F Major Seventh

G7 (Seventh) A Minor Seventh

B Minor Sevenflat Five

1st  C D E F G A B3rd  E F G A B C D

5th  G A B C D E F7th  B C D E F G A

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Chapter 2THE KEY OF G MAJOR 

The NotesThe 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 II III IV V VI VIIG A B C D E 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: The key signature is F# 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of G MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

A

A  A  A  A  A  A  A 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ B C D E F# G A 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

B

B  B  B  B  B  B  B 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C D E F# G A B 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

C

C  C  C  C  C  C  C 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D E F# G A B C 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

D

D  D  D  D  D  D  D 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E F# G A B C D 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

E

E  E  E  E  E  E  E 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F# G A B C D E 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

F#

F#  F#  F#  F#  F#  F#  F# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G A B C D E F# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  G A B C D E F#

3rd  B C D E F# G A5th  D E F# G A B C

I G Major 1st

  G  3rd

  B  5th

  D 

II A Minor 1st

  A  3rd

  C (b 3) 5th

  E 

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III B Minor 1st  B  3rd  D (b 3) 5th  F# 

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IV C Major 1st  C  3rd  E  5th  G 

V D Major 1st  D  3rd  F#  5th  A 

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VI E Minor 1st  E  3rd  G (b 3) 5th  B 

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VII F# Diminished 1st

  F#  3rd

  A (b 3) 5th

  C (b 5)

Further Harmonization of the Scale Tone Chords in G Major

I II III IV V VI VIIG Major Seventh

 A Minor Seventh

B Minor Seventh

C Major Seventh

D7 (Seventh)E Minor Seventh

F# Minor Sevenflat Five

1st  G A B C D E F#

3

rd

  B C D E F# G A5th  D E F# G A B C7th  F# G A B C D E

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Chapter 3THE KEY OF D MAJOR 

The NotesThe 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 II III IV V VI VIID E F# G A B 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: The key signature is F# C#

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of D MAJOR the first note or root note of each pattern will bethe 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 PatternsThe three major scale patterns with the root note on the TOP STRING:

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

E

E  E  E  E  E  E  E 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F# G A B C# D E 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

F#

F#  F#  F#  F#  F#  F#  F# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G A B C# D E F# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

G

G  G  G  G  G  G  G 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A B C# D E F# G 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

A

A  A  A  A  A  A  A 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ B C# D E F# G A 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

B

B  B  B  B  B  B  B 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C# D E F# G A B 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

C#

C#  C#  C#  C#  C#  C#  C# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D E F# G A B C# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  D E F# G A B C#

3rd  F# G A B C# D E5th  A B C# D E F# G

I D Major 1st  D  3rd  F#  5th  A 

II E Minor 1st

  E  3rd

  G (b 3) 5th

  B 

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III F# Minor 1st  F#  3rd  A (b 3) 5th  C# 

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IV G Major 1st

  G  3rd

  B  5th

  D 

V A Major 1st  A  3rd  C#  5th  E 

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VI B Minor 1st

  B  3rd

  D (b 3) 5th

  F# 

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VII C# Diminished 1st

  C#  3rd

  E (b 3) 5th

  G (b 5)

Further Harmonization of the Scale Tone Chords in D Major

I II III IV V VI VIID Major Seventh

E Minor Seventh

F# Minor Seventh

G Major Seventh

 A7 (Seventh)B Minor Seventh

C# Minor Seven flat Five

1st  D E F# G A B C#3rd  F# G A B C# D E

5th  A B C# D E F# G7th  C# D E F# G A B

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Chapter 4THE KEY OF A MAJOR

The NotesThe 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 II III IV V VI VIIA B C# D E F# 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: The key signature is C# F# G# 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of A MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

B

B  B  B  B  B  B  B 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C# D E F# G# A B 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

C#

C#  C#  C#  C#  C#  C#  C# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D E F# G# A B C# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

D

D  D  D  D  D  D  D 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E F# G# A B C# D 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

E

E  E  E  E  E  E  E 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F# G# A B C# D E 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

F#

F#  F#  F#  F#  F#  F#  F# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G# A B C# D E F# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

G#

G#  G#  G#  G#  G#  G#  G# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A B C# D E F# G# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  A B C# D E F# G#

3rd  C# D E F# G# A B5th  E F# G# A B C# D

I A Major 1st

  A  3rd

  C#  5th

  E 

II B Minor 1

st

  B  3

rd

  D (b 3) 5

th

  F# 

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III C# Minor 1st  C#  3rd  E (b 3) 5th  G# 

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IV D Major 1st

  D  3rd

  F#  5th

  A 

V E Major 1st  E  3rd  G#  5th  B 

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VI F# Minor 1st

  F#  3rd

  A (b 3) 5th

  C# 

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VII G# Diminished 1st

  G#  3rd

  B (b 3) 5th

  D (b 5)

Further Harmonization of the Scale Tone Chords in A Major

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

1st  A B C# D E F# G#3rd  C# D E F# G# A B

5th  E F# G# A B C# D7th  G# A B C# D E F#

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Chapter 5THE KEY OF E MAJOR

The NotesThe 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 II III IV V VI VIIE F# G# A B C# 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: The key signature is F# G# C# D# 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of E MAJOR the first note or root note of each pattern will bethe note E and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of E MAJOR thatcovers the whole extent of the fingerboard.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

F#

F#  F#  F#  F#  F#  F#  F# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G# A B C# D# E F# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

G#

G#  G#  G#  G#  G#  G#  G# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A B C# D# E F# G# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

A

A  A  A  A  A  A  A 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ B C# D# E F# G# A 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

B

B  B  B  B  B  B  B 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C# D# E F# G# A B 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

C#

C#  C#  C#  C#  C#  C#  C# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D# E F# G# A B C# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

D#

D#  D#  D#  D#  D#  D#  D# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E F# G# A B C# D# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  E F# G# A B C# D#

3rd  G# A B C# D# E F#5th  B C# D# E F# G# A

I E Major 1st

  E  3rd

  G#  5th

  B 

II F# Minor 1

st

  F#  3

rd

  A (b 3) 5

th

  C# 

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III G# Minor 1st  G#  3rd  B (b 3) 5th  D# 

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IV A Major 1st  A  3rd  C#  5th  E 

V B Major 1st  B  3rd  D#  5th  F# 

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VI C# Minor 1st  C#  3rd  E (b 3) 5th  G# 

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VII D# Diminished 1st

  D#  3rd

  F# (b 3) 5th

  A (b 5)

Further Harmonization of the Scale Tone Chords in E Major

I II III IV V VI VIIE Major Seventh

F# Minor Seventh

G# Minor Seventh

 A Major Seventh

B7 (Seventh)C# Minor Seventh

D# Minor Seven flat Five

1st  E F# G# A B C# D#3rd  G# A B C# D# E F#

5th  B C# D# E F# G# A7th  D# E F# G# A B C#

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Chapter 6THE KEY OF B MAJOR

The NotesThe 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 II III IV V VI VIIB C# D# E F# G# 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: The key signature is C# D# F# G# A# 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of B MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

C#

C#  C#  C#  C#  C#  C#  C# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D# E F# G# A# B C# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

D#

D#  D#  D#  D#  D#  D#  D# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E F# G# A# B C# D# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

E

E  E  E  E  E  E  E 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F# G# A# B C# D# E 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

F#

F#  F#  F#  F#  F#  F#  F# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G# A# B C# D# E F# 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

G#

G#  G#  G#  G#  G#  G#  G# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A# B C# D# E F# G# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

A#

A#  A#  A#  A#  A#  A#  A# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ B C# D# E F# G# A# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  B C# D# E F# G# A#

3rd  D# E F# G# A# B C#5th  F# G# A# B C# D# E

I B Major 1st  B  3rd  D#  5th  F# 

II C# Minor 1st

  C#  3rd

  E (b 3) 5th

  G# 

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III D# Minor 1st  D#  3rd  F# (b 3) 5th  A# 

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IV E Major 1st

  E  3rd

  G#  5th

  B 

V F# Major 1st  F#  3rd  A#  5th  C# 

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VI G# Minor 1st  G#  3rd  B (b 3) 5th  D# 

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VII A# Diminished 1st

  A#  3rd

  C# (b 3) 5th

  E (b 5)

Further Harmonization of the Scale Tone Chords in B Major

I II III IV V VI VIIB Major Seventh

C# Minor Seventh

D# Minor Seventh

E Major Seventh

F#7 (Seventh)G# Minor Seventh

 A# Minor Seven flat Five

1st  B C# D# E F# G# A#3rd  D# E F# G# A# B C#

5th  F# G# A# B C# D# E7th  A# B C# D# E F# G#

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Chapter 7THE KEY OF F# MAJOR

The NotesThe 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 II III IV V VI VIIF# G# A# B C# D# 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: The key signature is F# G# A# C# D# E# 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of F# MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

G#

G#  G#  G#  G#  G#  G#  G# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A# B C# D# E# F# G# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

A#

A#  A#  A#  A#  A#  A#  A# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ B C# D# E# F# G# A# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

B

B  B  B  B  B  B  B 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C# D# E# F# G# A# B 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

C#

C#  C#  C#  C#  C#  C#  C# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D# E# F# G# A# B C# 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

D#

D#  D#  D#  D#  D#  D#  D# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E# F# G# A# B C# D# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

E#

E#  E#  E#  E#  E#  E#  E# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F# G# A# B C# D# E# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  F# G# A# B C# D# E#

3rd  A# B C# D# E# F# G#5th  C# D# E# F# G# A# B

I F# Major 1st  F#  3rd  A#  5th  C# 

II G# Minor 1st

  G#  3rd

  B (b 3) 5th

  D# 

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III A# Minor 1st  A#  3rd  C# (b 3) 5th  E# 

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IV B Major 1st

  B  3rd

  D#  5th

  F# 

V C# Major 1st  C#  3rd  E#  5th  G# 

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VI D# Minor 1st  D#  3rd  F# (b 3) 5th  A# 

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VII E# Diminished 1st  E#  3rd  G# (b 3) 5th  B (b 5)

Further Harmonization of the Scale Tone Chords in F# Major

I II III IV V VI VIIF# Major Seventh

G# Minor Seventh

 A# Minor Seventh

B Major Seventh

C#7 (Seventh)D# Minor Seventh

E# Minor Seven flat Five

1st  F# G# A# B C# D# E#3rd  A# B C# D# E# F# G#

5th  C# D# E# F# G# A# B7th  E# F# G# A# B C# D#

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Chapter 8THE KEY OF C# MAJOR

The NotesThe 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 II III IV V VI VIIC# D# E# F# G# A# 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: The key signature is C# D# E# F# G# A# B# 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of C# MAJOR the first note or root note of each pattern will bethe 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 PatternsThe three major scale patterns with the root note on the TOP STRING:

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

D#

D#  D#  D#  D#  D#  D#  D# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E# F# G# A# B# C# D# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

E#

E#  E#  E#  E#  E#  E#  E# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F# G# A# B# C# D# E# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

F#

F#  F#  F#  F#  F#  F#  F# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G# A# B# C# D# E# F# 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

G#

G#  G#  G#  G#  G#  G#  G# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A# B# C# D# E# F# G# 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

A#

A#  A#  A#  A#  A#  A#  A# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ B# C# D# E# F# G# A# 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

B#

B#  B#  B#  B#  B#  B#  B# 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C# D# E# F# G# A# B# 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  C# D# E# F# G# A# B#

3rd  E# F# G# A# B# C# D#5th  G# A# B# C# D# E# F#

I C# Major 1st

  C#  3rd

  E#  5th

  G# 

II D# Minor 1

st

  D#  3

rd

  F# (b 3) 5

th

  A# 

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III E# Minor 1st  E#  3rd  G# (b 3) 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# (b 3) 5th

  E# 

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VII B# Diminished 1st

  B#  3rd

  D# (b 3) 5th

  F# (b 5)

Further Harmonization of the Scale Tone Chords in C# Major

I II III IV V VI VIIC# Major Seventh

D# Minor Seventh

E# Minor Seventh

F# Major Seventh

G#7 (Seventh) A# Minor Seventh

B# Minor Seven flat Five

1st  C# D# E# F# G# A# B#3rd  E# F# G# A# B# C# D#

5th  G# A# B# C# D# E# F#7th  B# C# D# E# F# G# A#

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Chapter 9THE KEY OF F MAJOR

The NotesThe 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 II III IV V VI VIIF G A Bb C D 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: The key signature is Bb 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of F MAJOR the first note or root note of each pattern will bethe note F and when we link these major scale patterns, we’ll get the above ‘picture’ of the key of  F MAJOR thatcovers the whole extent of the fingerboard. 

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

G

G  G  G  G  G  G  G 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A Bb C D E F G 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

A

A  A  A  A  A  A  A 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Bb C D E F G A 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

Bb

Bb  Bb  Bb  Bb  Bb  Bb  Bb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C D E F G A Bb 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

C

C  C  C  C  C  C  C 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D E F G A Bb C 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

D

D  D  D  D  D  D  D 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ E F G A Bb C D 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

E

E  E  E  E  E  E  E 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F G A Bb C D E 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  F G A Bb C D E

3rd  A Bb C D E F G5th  C D E F G A Bb

I F Major 1st

  F  3rd

  A  5th

  C 

II G Minor 1

st

  G  3

rd

  Bb (b 3) 5

th

  D 

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III A Minor 1st  A  3rd  C (b 3) 5th  E 

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IV Bb Major 1st  Bb  3rd  D  5th  F 

V C Major 1st  C  3rd  E  5th  G 

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VI D Minor 1st  D  3rd  F (b 3) 5th  A 

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VII E Diminished 1st  E  3rd  G (b 3) 5th  Bb (b 5)

Further Harmonization of the Scale Tone Chords in F Major

I II III IV V VI VIIF Major Seventh

G Minor Seventh

 A Minor Seventh

Bb Major Seventh

C7 (Seventh)D Minor Seventh

E Minor Sevenflat Five

1st  F G A Bb C D E3rd  A Bb C D E F G

5th  C D E F G A Bb7th  E F G A Bb C D

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Chapter 10THE KEY OF Bb MAJOR

The NotesThe 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 II III IV V VI VIIBb C D Eb F G 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: The key signature is Bb Eb 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of Bb MAJOR the first note or root note of each pattern will bethe 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 Major Scale PatternsThe three major scale patterns with the root note on the TOP STRING:

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

C

C  C  C  C  C  C  C 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D Eb F G A Bb C 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

D

D  D  D  D  D  D  D 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Eb F G A Bb C D 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

Eb

Eb  Eb  Eb  Eb  Eb  Eb  Eb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F G A Bb C D Eb 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

F

F  F  F  F  F  F  F 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G A Bb C D Eb F 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

G

G  G  G  G  G  G  G 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ A Bb C D Eb F G 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

A

A  A  A  A  A  A  A 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Bb C D Eb F G A 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  Bb C D Eb F G A

3rd  D Eb F G A Bb C5th  F G A Bb C D Eb

I Bb Major 1st

  Bb  3rd

  D  5th

  F 

II C Minor 1

st

  C  3

rd

  Eb (b 3) 5

th

  G 

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III D Minor 1st  D  3rd  F (b 3) 5th  A 

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IV Eb Major 1st  Eb  3rd  G  5th  Bb 

V F Major 1st  F  3rd  A  5th  C 

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VI G Minor 1st  G  3rd  Bb (b 3) 5th  D 

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VII A Diminished 1st  A  3rd  C (b 3) 5th  Eb (b 5)

Further Harmonization of the Scale Tone Chords in Bb Major

I II III IV V VI VIIBb Major Seventh

C Minor Seventh

D Minor Seventh

Eb Major Seventh

F7 (Seventh)G Minor Seventh

 A Minor Sevenflat Five

1st  Bb C D Eb F G A

3

rd

  D Eb F G A Bb C5th  F G A Bb C D Eb

7th  A Bb C D Eb F G

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Chapter 11THE KEY OF Eb MAJOR

The NotesThe 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 II III IV V VI VIIEb F G Ab Bb C 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: The key signature is Eb Ab Bb 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of Eb MAJOR the first note or root note of each pattern will bethe 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 PatternsThe three major scale patterns with the root note on the TOP STRING:

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

F

F  F  F  F  F  F  F 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G Ab Bb C D Eb F 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

G

G  G  G  G  G  G  G 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Ab Bb C D Eb F G 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

Ab

Ab  Ab  Ab  Ab  Ab  Ab  Ab 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Bb C D Eb F G Ab 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

Bb

Bb  Bb  Bb  Bb  Bb  Bb  Bb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C D Eb F G Ab Bb 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

C

C  C  C  C  C  C  C 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ D Eb F G Ab Bb C 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

D

D  D  D  D  D  D  D 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Eb F G Ab Bb C D 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  Eb F G Ab Bb C D

3rd  G Ab Bb C D Eb F5th  Bb C D Eb F G Ab

I Eb Major 1st

  Eb  3rd

  G  5th

  Bb 

II F Minor 1

st

  F  3

rd

  Ab (b 3) 5

th

  C 

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III G Minor 1st  G  3rd  Bb (b 3) 5th  D 

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IV Ab Major 1st  Ab  3rd  C  5th  Eb 

V Bb Major 1st  Bb  3rd  D  5th  F 

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VI C Minor 1st  C  3rd  Eb (b 3) 5th  G 

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VII D Diminished 1st  D  3rd  F (b 3) 5th  Ab (b 5)

Further Harmonization of the Scale Tone Chords in Eb Major

I II III IV V VI VIIEb Major Seventh

F Minor Seventh

G Minor Seventh

 Ab Major Seventh

Bb (Seventh)C Minor Seventh

D Minor Sevenflat Five

1st  Eb F G Ab Bb C D3rd  G Ab Bb C D Eb F

5th  Bb C D Eb F G Ab7th  D Eb F G Ab Bb C

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Chapter 12THE KEY OF Ab MAJOR

The NotesThe 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 II III IV V VI VIIAb Bb C Db Eb F 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: The key signature is Ab Bb Db Eb 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of Ab MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

Bb

Bb  Bb  Bb  Bb  Bb  Bb  Bb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C Db Eb F G Ab Bb 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

C

C  C  C  C  C  C  C 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Db Eb F G Ab Bb C 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

Db

Db  Db  Db  Db  Db  Db  Db 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Eb F G Ab Bb C Db 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

Eb

Eb  Eb  Eb  Eb  Eb  Eb  Eb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F G Ab Bb C Db Eb 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

F

F  F  F  F  F  F  F 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ G Ab Bb C Db Eb F 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

G

G  G  G  G  G  G  G 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Ab Bb C Db Eb F G 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  Ab Bb C Db Eb F G

3rd  C Db Eb F G Ab Bb5th  Eb F G Ab Bb C Db

I Ab Major 1st

  Ab  3rd

  C  5th

  Eb 

II Bb Minor 1

st

  Bb  3

rd

  Db (b 3) 5

th

  F 

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III C Minor 1st  C  3rd  Eb (b 3) 5th  G 

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IV Db Major 1st  Db  3rd  F  5th  Ab 

V Eb Major 1st  Eb  3rd  G  5th  Bb 

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VI F Minor 1st

  F  3rd

  Ab (b 3) 5th

  C 

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VII G Diminished 1st  G  3rd  Bb (b 3) 5th  Db (b 5)

Further Harmonization of the Scale Tone Chords in Ab Major

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 Sevenflat Five

1st  Ab Bb C Db Eb F G3rd  C Db Eb F G Ab Bb

5th  Eb F G Ab Bb C Db7th  G Ab Bb C Db Eb F

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Chapter 13THE KEY OF Db MAJOR

The NotesThe 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 II III IV V VI VIIDb Eb F Gb Ab Bb 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: The key signature is Db Eb Gb Ab Bb 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of Db MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

Eb

Eb  Eb  Eb  Eb  Eb  Eb  Eb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F Gb Ab Bb C Db Eb 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

F

F  F  F  F  F  F  F 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Gb Ab Bb C Db Eb F 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

Gb

Gb  Gb  Gb  Gb  Gb  Gb  Gb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Ab Bb C Db Eb F Gb 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

Ab

Ab  Ab  Ab  Ab  Ab  Ab  Ab 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Bb C Db Eb F Gb Ab 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

Bb

Bb  Bb  Bb  Bb  Bb  Bb  Bb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ C Db Eb F Gb Ab Bb 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

C

C  C  C  C  C  C  C 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Db Eb F Gb Ab Bb C 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  Db Eb F Gb Ab Bb C

3rd  F Gb Ab Bb C Db Eb5th  Ab Bb C Db Eb F Gb

I Db Major 1st

  Db  3rd

  F  5th

  Ab 

II Eb Minor 1

st

  Eb  3

rd

  Gb (b 3) 5

th

  Bb 

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III F Minor 1st  F  3rd  Ab (b 3) 5th  C 

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IV Gb Major 1st  Gb  3rd  Bb  5th  Db 

V Ab Major 1st  Ab  3rd  C  5th  Eb 

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VI Bb Minor 1st  Bb  3rd  Db (b 3) 5th  F 

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VII C Diminished 1st  C  3rd  Eb (b 3) 5th  Gb (b 5)

Further Harmonization of the Scale Tone Chords in Db Major

I II III IV V VI VIIDb Major Seventh

Eb Minor Seventh

F Minor Seventh

Gb Major Seventh

 Ab7 (Seventh)Bb Minor Seventh

C Minor Sevenflat Five

1st  Db Eb F Gb Ab Bb C3rd  F Gb Ab Bb C Db Eb

5th  Ab Bb C Db Eb F Gb7th  C Db Eb F Gb Ab Bb

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Chapter 14THE KEY OF Gb MAJOR

The NotesThe 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 II III IV V VI VIIGb Ab Bb Cb Db Eb 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: The key signature is Gb Ab Bb Cb Db Eb 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of Gb MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

Ab

Ab  Ab  Ab  Ab  Ab  Ab  Ab 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Bb Cb Db Eb F Gb Ab 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

Bb

Bb  Bb  Bb  Bb  Bb  Bb  Bb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Cb Db Eb F Gb Ab Bb 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

Cb

Cb  Cb  Cb  Cb  Cb  Cb  Cb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Db Eb F Gb Ab Bb Cb 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

Db

Db  Db  Db  Db  Db  Db  Db 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Eb F Gb Ab Bb Cb Db 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

Eb

Eb  Eb  Eb  Eb  Eb  Eb  Eb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ F Gb Ab Bb Cb Db Eb 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

F

F  F  F  F  F  F  F 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Gb Ab Bb Cb Db Eb F 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  Gb Ab Bb Cb Db Eb F

3rd  Bb Cb Db Eb F Gb Ab5th  Db Eb F Gb Ab Bb Cb

I Gb Major 1st

  Gb  3rd

  Bb  5th

  Db 

II Ab Minor 1

st

  Ab  3

rd

  Cb (b 3) 5

th

  Eb 

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III Bb Minor 1st  Bb  3rd  Db (b 3) 5th  F 

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IV Cb Major 1st  Cb  3rd  Eb  5th  Gb 

V Db Major 1st  Db  3rd  F  5th  Ab 

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VI Eb Minor 1st  Eb  3rd  Gb (b 3) 5th  Bb 

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VII F Diminished 1st  F  3rd  Ab (b 3) 5th  Cb (b 5)

Further Harmonization of the Scale Tone Chords in Gb Major

I II III IV V VI VIIGb Major Seventh

 Ab Minor Seventh

Bb Minor Seventh

Cb Major Seventh

Db7(Seventh)Eb Minor Seventh

F Minor Sevenflat Five

1st  Gb Ab Bb Cb Db Eb F3rd  Bb Cb Db Eb F Gb Ab

5th  Db Eb F Gb Ab Bb Cb7th  F Gb Ab Bb Cb Db Eb

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Chapter 15THE KEY OF Cb MAJOR

The NotesThe 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 II III IV V VI VIICb Db Eb Fb Gb Ab 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: The key signature is Cb Db Eb Fb Gb Ab Bb 

Treble Clef  

Bass Clef 

The Bass FingerboardOn 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 inorder to memorize the above sequence of notes we will start by learning the individual major scale patterns asindicated in the following section. In this chapter of Cb MAJOR the first note or root note of each pattern will bethe 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.

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

Pattern to the Left Pattern in the Center Pattern to the Right

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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 secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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II

Db

Db  Db  Db  Db  Db  Db  Db 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Eb Fb Gb Ab Bb Cb Db 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)

Octave

III

Eb

Eb  Eb  Eb  Eb  Eb  Eb  Eb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Fb Gb Ab Bb Cb Db Eb 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

IV

Fb

Fb  Fb  Fb  Fb  Fb  Fb  Fb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Gb Ab Bb Cb Db Eb Fb 

Major secondinterval

Major thirdinterval

 Augmentedfourth interval

(# 4/# 11)

Perfect fifthinterval

Major sixthinterval

Major seventhinterval

Octave

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V

Gb

Gb  Gb  Gb  Gb  Gb  Gb  Gb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Ab Bb Cb Db Eb Fb Gb 

Major secondinterval

Major thirdinterval

Perfect fourthinterval

Perfect fifthinterval

Major sixthinterval

Minor seventh

interval (b 7)Octave

VI

Ab

Ab  Ab  Ab  Ab  Ab  Ab  Ab 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Bb Cb Db Eb Fb Gb Ab 

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

VII

Bb

Bb  Bb  Bb  Bb  Bb  Bb  Bb 

⇩  ⇩  ⇩  ⇩  ⇩  ⇩  ⇩ Cb Db Eb Fb Gb Ab Bb 

Minor secondinterval(b 2/b 9)

Minor thirdinterval (b 3)

Perfect fourthinterval

Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/b 13)

Minor seventh

interval (b 7)Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMajor chord Minor chord Minor chord Major chord Major chord Minor chord

Diminishedchord

1st  Cb Db Eb Fb Gb Ab Bb

3rd  Eb Fb Gb Ab Bb Cb Db5th  Gb Ab Bb Cb Db Eb Fb

I Cb Major 1st

  Cb  3rd

  Eb  5th

  Gb 

II Db Minor 1

st

  Db  3

rd

  Fb (b 3) 5

th

  Ab 

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III Eb Minor 1st  Eb  3rd  Gb (b 3) 5th  Bb 

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IV Fb Major 1st  Fb  3rd  Ab  5th  Cb 

V Gb Major 1st  Gb  3rd  Bb  5th  Db 

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VI Ab Minor 1st  Ab  3rd  Cb (b 3) 5th  Eb 

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VII Bb Diminished 1st  Bb  3rd  Db (b 3) 5th  Fb (b 5)

Further Harmonization of the Scale Tone Chords in Cb Major

I II III IV V VI VIICb Major Db Minor Eb Minor Fb Major Ab Minor Bb Minor