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The Beginning
Updated: 07.16.2008
Table of Contents:
1.0 - Introduction
1.1 - Where to start?
1.2 – The first 10 thing to learn
1
1.0 - Introduction.
So you've seen people talking their heads off about "Lydian sharp 11 dominant 9" and you have no idea what they're talking about, or
maybe you're interested in starting to learn music theory. Well, it's a great choice to come this route, as theory can make your music
excel to great heights, and it lets you know what you're doing, and why. I chose to learn music theory because I wasn't much of a song
writer and wanted my music to sound good. Plus, on the forums on this site, I would visit "Musicians Talk" and not know what was
going on. So I've learned quite a bit and have prepared this list for you, someone new to music theory, or someone who needs a nice
refresher. In this lesson, you will need no knowledge of previous theory, but you will need to know that the notes only go to G and
what sharps (#) and flats (b) are. Also keep in mind you might see parts from other lesson I have written, as I can copy from them all I
want, but if I didn’t write the lesson, I will link to it. Have fun!
I will go into each and every one of these so you, the beginner can understand them.
2
7 | Major Seventh | B
8 | Unison (Octave higher) | C
b9 | Minor Ninth | Db
9 | Major Ninth | D
#9 | Augmented Ninth | D#
------------------------------------------------
etc.
The intervals repeat, where 2 = 9, 3 = 10, 4 = 11, etc. Notice that you're adding 7 to get the octave higher interval. For those who don’t
know what an octave is: An octave is the same exact note only played higher. Ex. Middle C on a piano, and the next C, going higher
are an octave apart. Just like b9 is an octave higher than b2.
When dealing with intervallic inversions (more on that later, this needs to be said in the interval section) you need to know a couple
things. You have 4 perfect intervals. Unison, Fourth, Fifth, and Octave. A perfect interval inverts to a perfect interval, and when you ad
the interval numbers together, you will always get 9. So if you know a P4 inverts to another perfect interval, you know (9-4 = 5, P
inverts to P) so a P4 inverts to a P5. Same thing with unison. Unison inverts to the octave. The other intervals (2, 3, 6, 7) are either
minor or major, and a major interval inverts to a minor one, and vice versa. So with your formula, you can find that a minor third
inverts to a major sixth (3 + 6 = 9). Then an augmented interval inverts to a diminished interval. A perfect interval goes right to
diminished when its flattened, and all intervals go right to augmented when sharpened. An inverted interval is the same as a normal
interval but instead of going up the chart (1-b2, ex) you are going down. Here’s a chart for your inversions.
P1 - P8
m2 - M7
M2 - m7
m3 - M6
M3 - m6
P4 - P5
A4 - D5
D7 - A2
P = Perfect
m = Minor
M = Major
D = Diminished
A = Augmented
Some intervals aren't used as much as others, but still exist. b10 is still an acceptable name, but will more commonly be call #9. 9ths,
11ths, and 13ths are used more often than their enharmonic (Enharmonic- Same note; different name) siblings.
Tones and semitones are the same as steps, just with a different name. I use steps throughout, but you can think of them as tones
throughout:
3
between them. This applies to all the notes except between B - C and E - F. There is nothing between B - C and E - F. Your chromatic
scale (in C) is:
Know it inside and out, as you should. Very important stuff. As short of a section this takes, it is just as important as the others.
C D E F G A B C
W W H W W W H
Notice how those notes fit right into the formula? Let’s try it with E.
E F# G# A B C# D# E
W W H W W W H
Apply that to any note you want to find its major scale.
You must know this. Memorize the WWHWWWH however you want, and once you know the major scales (Wait for Circle Of Fifths,
it helps) everything is dramatically easier.
4.1 - Triads.
Triads are three note chords. I'm going to slip this in before chord construction while you're hot of the press of the major scale. I'll also
teach you the way to make chords with intervals (as that how they're done). There are 4 types of triads. Major, Minor, Augmented,
Diminished. They are each different in formation and sound different. Four different formulas... Easy to remember, ok?
Major- 1 3 5
Minor- 1 b3 5
Augmented- 1 3 #5
Diminished- 1 b3 b5
***
Major triads are unaltered. You take the first, third and fifth notes of the major scale. The major chord you want (F, for example) is the
scale you use. F uses F major Scale, C uses C major scale, etc... In C you have C E G, in F you have F A C, and so on. Another way to
say this is "Root, Major Third, and Perfect Fifth"
Minor Triads are like the major triads, in that you do the same thing to form them except you lower the third by one half step. In C you
get C Eb G, E is E G B, and so on. Another way to say it is "Root, Minor Third, and Perfect Fifth"
Augmented Triads follow the same rule for creating them. You always use the major scale to make chords. Always. Same as the major
triad, but you're raising the fifth by a half step. In C, C E G#, A is A C# E#. Augmented Triads can be said as "Root, Major Third, and
Augmented Fifth". Augmented triads are stacked major thirds.
Diminished Triads, like all the other ones are based off the major scale. You are lowering the third AND the fifth in the formula. In C it
is C Eb Gb, A is A C Eb. Diminished Triads are "Root, Minor Third, and Diminished Fifth". Remember how I said Augmented Triads
were stacked major thirds? Well, diminished triads are stacked minor thirds. This knowledge will come in handy in the chord
construction section.
4
Co5, how it works, the actual circle, and I’ll move on to key signatures, explaining what they are and what they do. The Co5 is a must
know for all theory beginners because it helps you identify major scales, and it becomes easy to play in key.
Notice how G is a perfect fifth from C, B is from E, etc... You don’t really have to memorize this but it does help. If you can picture a
fifth interval in your head (think power chords) then this isn’t hard to memorize at all.
Starting at the top, at C there are no sharps or flats. As you turn clockwise (To G) you add 1 sharp to the key signature, until you get to
F#. Same with going to F. You add one flat to the key signature. How do you know what sharp or flat to add? Well, here is the order:
Sharps: F C G D A E B
Flats: B E A D G C F
Sharps to the left, and flats to the right. So if we know D has two sharps, then we look at the line here. F# and C# are the sharps in the
key of D. Now take Eb. We know from the Co5 that it has 3 flats, and the line tells us the first 3 flats are B, E and A. So we know Eb
had Bb, Eb, and Ab in it. This is what helps you will the major scales. Since we know D has F# and C#, we then know D major scale
is D E F# G A B C# D. In Eb, we know it would be Eb F G Ab Bb C D Eb. You can do this for every key. Take any note off there, find
how many flats or sharps it has, then look at the line to see what flats or sharps it has. That way you can find the major scale of any
key.
The key with the most sharps in its key signature is C#. For flats, it’s Cb. Notice how those scales are directly opposite each other in
the CoF. Likewise, the scales with one sharp/flat, G and F, are opposite each other. The same applies to D and Bb.
Another interesting aspect of the CoF is that the notes the furthest apart are always a tritone apart. C is a tritone away from Gb and F#,
Db and C# are a tritone away from G, etc. This relationship should reinforce the concept that a tritone is right in the middle of the
octave.
What about minor keys you ask? Here’s a simple trick: Look at the above picture of the circle of fifths side ways, starting from A. A is
the relative minor to C.
Same rules apply. Dm has 1 flat, and it is B, so we know Dm scale is D E F G A Bb C D. More on minor scales later.
In your key signature say you have a Bb, and an Eb. From Co5 you know that’s the key of Bb major. All notes throughout the piece
that are B and E are to be played as Bb and Eb. This makes writing music easier, so you don’t have to use so many accidentals
(accidentals- sharps and flats). You won’t find key signatures so much on conventional TAB, but on sheet music and Power Tabs, and
even Guitar One transcriptions there are key signatures. So, with your Bb and Eb in the key signature, all B's and E's are to be played
as Bb and Eb throughout, unless there is a natural sign (Google the natural sign- I can’t type it).
With Co5, you know what flats are in what key signature. Here’s a list, with both sharps and flats, for easy reference.
C major- No flats/sharps
G major- F#
D major- F# C#
A major- F# C# G#
E major- F# C# G# D#
B major- F# C# G# D# A#
F# major- F# C# G# D# A# E#
C# major- F# C# G# D# A# E# B#
5
*****************************
C major- No flats/sharps
F major- Bb
Bb major- Bb Eb
Eb major- Bb Eb Ab
Ab major- Bb Eb Ab Db
Db major- Bb Eb Ab Db Gb
Gb major- Bb Eb Ab Db Gb Cb
Cb major- Bb Eb Ab Db Gb Cb Fb
Major - 1 3 5
Minor - 1 b3 5
Augmented - 1 3 #5
Diminished - 1 b3 b5
That’s great. Because that is the beginning of chord construction. You already know the basics of it, but I'll teach you how to alter
them and extend them to get the chords you want for your own playing.
6.1 - Extending.
This how you can make other chords that are different from your triads. All you really do is extend your triads in this section, and then
we'll alter them in the next section. I'll give you some formulas for extended chords here.
_7 (dominant 7th): 1 3 5 b7
m7 (minor 7th) : 1 b3 5 b7
Those are your 3 most common extensions, and they can go even farther, but hers some examples.
C7 : C E G Bb
Cmaj7: C E G B
Cm7 : C Eb G Bb
Now we can extend those to 9, 11, and 13. You must have a 7th degree in the scale to call it _maj9, or _11, because the 7th tone is
what 'supports' the further extensions. Without the 7th degree (b7, or 7) your 9, 11, or 13 degrees become an 'add chord'... Add chords
explained in the next section!
_9 : 1 3 5 b7 9
_11: 1 3 5 b7 (9) 11
_13: 1 3 5 b7 (9) (11) 13
The numbers in brackets represent the optional notes. You can still have G13 without the 9 and 11. Also, every chord where the fifth is
unaltered, or needed, it can be omitted.
_maj9 : 1 3 5 7 9
_maj11: 1 3 5 7 (9) 11
_maj13: 1 3 5 7 (9) (11) 13
_m9 : 1 b3 5 b7 9
_m11: 1 b3 5 b7 (9) 11
_m13: 1 b3 5 b7 (9) (11) 13
6
What about the diminished and augmented triads? Can you extend them too? Yes.
These notes are all a minor third away from each other, until you extend more.
_°9 : 1 b3 b5 bb7 9
_°11: 1 b3 b5 bb7 (9) 11
_°13: 1 b3 b5 bb7 (9) (11) 13
_+7 (+ = aug): 1 3 #5 b7
_+9 : 1 3 #5 b7 9
_+11 : 1 3 #5 b7 (9) 11
_+13 : 1 3 #5 b7 (9) (11) 13
Remember, those are all in relation to the major scale, and the 9 is enharmonic to the 2, etc... They don’t have to be an octave higher,
because you shouldn’t name a chord _7(add2) because the 2nd is better named as a 9, making _9.
6.2 - Altering.
This is how you can make your chords suit your needs, and also in this section as well as altering, I'll show you some other extended
chords that could be considered 'altered'. Most alterations explain themselves. If the name says Em7b5, then you know it’s an Em7,
with a b5. The construction for that would be 1 b3 b5 b7. Some common alterations you'll see are:
b5
#5
b6
b9
#9
#11
b13
With those you can produce chords like E7#9, Fmaj7(#11), Cmaj7#5, Bm7(b9), etc... But remember if your alteration is a b5, your
formula changes to 1 3 b5, not 1 3 5 b5. Some not so common chords that can still sound good.
_m/maj7 (aka m/M7, its minor/major seventh. A minor triad with major seventh) 1 b3 5 7
_m7b5 (It looks altered, and it is, but its best name is _half diminished, or ø) 1 b3 b5 b7.
Use alterations as you please, but remember, they're probably going to put you out of key.
Another part in altering - add chords. When you see Cadd9 or C(9) that is an add chord. Not to be confused with a dominant chord, the
note is in (brackets). You can add:
2...9
4..11
6..13
_sus2 : 1 2 5
_sus4 : 1 4 5
_sus (aka _7sus4): 1 4 5 b7
You can do crazy things, like _9sus4, which would leave you with 1 2 4 5 b7 9, but you have to use common sense to figure those out.
C9sus4 can also be named as Gm11. The name you choose will depend on the context the chord is used in. Not much to say about
these, but remember they are chords too, just they aren’t minor, or major.
7
6.4 - Inversions.
Inversions are slighter harder than what we've been doing, but are easy to remember. Inversion means that you don't use the root, or
the 1 as the bass note of the chord. For instance C/E can be labelled differently.
When working with inversions its good to know the intervals of the chords already. A First Inversion is when the 3rd of the chord is
the bass note. C, with the base note E (or C/E) can be called C, in the first inversion. When the 5th tone is the bass note, we have a
second inversion. C/G is C in the second inversion. When the 7th tone is the bass note, we have a third inversion. Guess what happens
when the 9th tone is the bass note? Fourth inversion.
C (first inversion): E G C
C (2nd inversion) : G C E
C7 (3rd inversion) : Bb C E G
etc.
Cmaj7
Dm7
Em7
Fmaj7
G7
Am7
Bm7b5
And beyond...
Cmaj9
Dm9
Em7(b9)
Fmaj9
G9
Am9
Bm7(b5, b9)
8
Further:
Cmaj11
Dm11
Em11(b9)
Fmaj9(#11)
G11
Am11
Bm11(b5, b9)
And to 13ths!
Cmaj13
Dm13
Em11(b9, b13)
Fmaj13(#11)
G13
Am13
Bm11(b5, b9, b13)
The formula for the minor scale is 1 2 b3 4 5 b6 b7 1. The formulas for scales are the same as chords as chords, in the way that they
are compared to the major scale. If 1 2 3 4 5 6 7 1 is the major scale, without any alterations, then 1 2 b3 4 5 b6 b7 1 has a lowered 3rd
(Every minor scale has a b3. Thats what makes it minor), sixth and seventh. So you can apply this formula to any key... I'll use C for
example.
C major: C D E F G A B C
Intervals: 1 2 3 4 5 6 7 1
C minor: C D Eb F G Ab Bb C
Intervals: 1 2 b3 4 5 b6 b7 1
See the pattern? Apply that to any key you want! In A, for example.
A major: A B C# D E F# G# A
Intervals: 1 2 3 4 5 6 7 1
A minor: A B C D E F G A
Intervals: 1 2 b3 4 5 b6 b7 1
Any major scale you apply that to will get you the minor scale (for that key). For you step loving people, here’s the minor scale in
steps.
W H W W H W W
In A:
A B C D E F G A
W H W W H W W
9
etc.
Here’s your Harmonic minor formula: 1 2 b3 4 5 b6 7 1. Not very different from the natural minor is it? Only the 7th is brought back
up to a major seventh, from a minor one. The b6 - 7 is a very cool interval. It gives you a nice eastern vibe, and in the steps watch out!
Applying it to C:
C major: C D E F G A B C
Intervals: 1 2 3 4 5 6 7 1
C Harm. Minor: C D Eb F G Ab B C
Intervals: 1 2 b3 4 5 b6 7 1
By now, you're not completely new to theory, so you can apply it to any major scale you want, and do it for yourself. You learn much
better when you see the results for yourself. For steps, I have to introduce a new step! It’s the WH step. It’s a whole step AND a half
step. Or a whole half step!
Harmonic Minor: W H W W H WH H
C D Eb F G Ab B C
W H W W H WH H
C major : C D E F G A B C
Intervals: 1 2 3 4 5 6 7 1
C Mel. Minor: C D Eb F G A B C
Intervals : 1 2 b3 4 5 6 7 1
This scale is rather simple. And now on to the descending melodic minor! Here are your steps: W H W W W W H.
Old musicians had the natural minor scale and it’s b7 tone. Singers found this awkward to sing, so they raised it to a natural 7. This
created the harmonic minor scale. However, the minor third interval between the b6 and 7 was awkward to sing as well, so they raised
the b6 to 6 and created the melodic minor scale. However, when descending, the 6 did not pull strongly to the 5. They decided that
when descending, the note should be lowered back down to b6. However, this created that awkward interval between 7 and b6 again,
so they lowered the 7 to b7 as well, and that is the same pattern as the natural minor scale.
Please do not refer to a descending natural minor lick as a melodic minor lick. In practice, modern music often used the ascending
pattern for the melodic minor scale both ascending and descending.
10
In C:
C major: C D E F G A B C
Intervals: 1 2 3 4 5 6 7 1
Natural minor- minor, m7, m9, m11, m11(b13). It fits well into minor chord progressions and works in almost any style of music.
You'll find this scale mostly in metal, rock, and it fits over power chords in a rock/metal song. Ex. Using each root's minor scale in a
G5 D5 E5 A5 progression works in a rock scenario.
Harmonic minor- this can go with m/maj7 chords, because of the b3 and major 7th. This doesn’t quite fit a lot of chords perfectly, but
is still applicable in place where the minor scale would be used. If you use a E5 F5 G5 E5 progression (key of Am) you can change it
to suit the (A) harmonic minor, by making it E5 F5 G#5 E5.
Melodic Minor- Melodic Minor- Pretty much the same as harmonic minor, it is a less dark alternative. You would not use it over a
m/maj7b13 chord, due to the 6/b6 clash.
Ionian - 1 2 3 4 5 6 7 1
Dorian - 1 2 b3 4 5 6 b7 1
Phrygian - 1 b2 b3 4 5 b6 b7 1
Lydian - 1 2 3 #4 5 6 7 1
Mixolydian - 1 2 3 4 5 6 b7 1
Aeolian - 1 2 b3 4 5 b6 b7 1
Locrian - 1 b2 b3 4 b5 b6 b7 1
Wondering where those intervals came from? Well after you work them out, the notes correspond to the intervals, as the formulas
suggest. Take Dorian mode. In C, it is C D Eb F G A Bb C. If you look at the intervals between the notes:
C D Eb F G A Bb C
1-2
1 - b3
1 - 4
1 - 5
11
etc.
You remember how to get the scales, so you can use C as your example.
Ionian - C D E F G A B C. Ionian mode is also the major scale. There’s one mode you know already! Pronounce (EYE-OWN-EE-IN)
Dorian - C D Eb F G A Bb C. Dorian mode is very good for jazz, and is a minor mode. Pronounce (DORE-EE-IN)
Phrygian - C Db Eb F G Ab Bb C. Phrygian is rather Spanish sounding and is a minor mode. Pronounce (FRIJ-EE-IN)
Lydian - C D E F# G A B C. This is the closest mode to the major scale, it is a major mode. Pronounce (LID-EE-IN)
Mixolydian - C D E F G A Bb C. This on is also close to the major scale, kind of bluesy, and is a major mode. Pronounce (MIX-O-
LID-EE-IN)
Aeolian - C D Eb F G Ab Bb C. Also known as the minor scale (natural). Two modes you know! Pronounce (EH-O-LEE-IN)
Locrian - C Db Eb F Gb Ab Bb C. Very dark and evil sounding, this is a DIMINISHED scale. Pronounce (LOW-CREE-IN)
W W H W W W H W W H W W W H W W H W W W H W W H W W W H
Ionian:W W H W W W H
Dorian: W H W W W H W
Phrygian: H W W W H W W
Lydian: W W W H W W H
Mixolydian: W W H W W H W
Aeolian: W H W W H W W
Locrian: H W W H W W W
Those are your step formulas. Just take the first step and throw it on the end. The long one at the top is the major scale repeated. You
can think of a mode as playing a scale starting on a different note.
C D E F G A B C
W W H W W W H
C D Eb F G A Bb C
W H W W W H W
C Db Eb F G Ab Bb C
H W W W H W W
C D E F# G A B C
W W W H W W H
C D E F G A Bb C
W W H W W H W
C D Eb F G Ab Bb C
W H W W H W W
C Db Eb F Gb Ab Bb C
H W W H W W W
12
Ionian - Ionian mode is just the name for the major scale. It has no alterations made to it. Play this mode over Major chords, Maj7,
Maj6.
Dorian- Dorian mode has a flattened third and seventh (b3 and b7) making it ideal for m7 chords. You can also use Dorian mode for
m6 chords. Dorian mode is often used in jazz styles.
Phrygian- Phrygian mode has a lowered second, third, sixth, and seventh. Phrygian has a Spanish feel to it so you can Play it over
Spanish progressions or heavy metal/rock riffs with a b2.
Lydian- Lydian mode's only alteration is a raised fourth (#4) making it very close to the major scale. The #4 makes it a good chord to
use for Maj7#11 chords, but can also be used over maj7 chords.
Mixolydian- The only alteration in Mixolydian mode is the lowered seventh (b7). This makes it perfect for dominant 7th chords. This
mode can be used in blues, jazz or even country.
Aeolian- Aeolian mode, a.k.a. the minor scale has a b3, b6 and b7. (All minor scales have a b3). Aeolian mode works over minor
chords, and can be used as a substitute for Dorian mode, by using it over m7 chords.
Locrian- Locrian mode has a b2, b3, b5, b6 and b7. Locrian mode is very dark sounding. It fits a m7b5 chord perfectly.
|-----7-10--10-7------8-|-(8)--8------------8---------|-------8-10-----------|
|---8------------8h10---|--------10-----------10------|-8--10------10-8s6--5-|
|-9---------------------|-----------10-9-7-------10-9-|----------------------|
|-----------------------|-----------------------------|----------------------|
|-----------------------|-----------------------------|----------------------|
|-----------------------|-----------------------------|----------------------|
|---8-7-5---8-7---8-7-|---8-7-10b12----|
|-6-------6-----6-----|-6--------------|
|---------------------|----------------|
|---------------------|----------------|
|---------------------|----------------|
|---------------------|----------------|
|-10-8-7-10-8-7----------------------------------------------|
|---------------10-8----10-8---------------------------------|
|--------------------10------10-9-7----9-7-------------------|
|-----------------------------------10-----10-9-7----9-7-----|
|-------------------------------------------------10-----10--|
|------------------------------------------------------------|
|-----------------------------------------------7-8-10-8----|
|------------------------------------------8-10-------------|
|-----------------------------------7-9-10------------------|
|----------------------------7-9-10-------------------------|
|-8-7----8-7----------7-8-10--------------------------------|
|-----10-----10-8-7-8---------------------------------------|
That’s built completely off the C major scale and triads, in the key of C. You can even repeat it!
13
|------|
|------|
|------|
|------|
|------|
|-0-1--|
In the key of E, E - F is a b2, or a minor second. All these interval examples are in E major.
|------|
|------|
|------|
|------|
|------|
|-0-2--|
|------|
|------|
|------|
|------|
|------|
|-0-3--|
|------|
|------|
|------|
|------|
|------|
|-0-4--|
|------|
|------|
|------|
|------|
|------|
|-0-5--|
|------|
|------|
|------|
|------|
|------|
|-0-6--|
|------|
|------|
|------|
|------|
|------|
|-0-7--|
14
|------|
|------|
|------|
|------|
|------|
|-0-8--|
|------|
|------|
|------|
|------|
|------|
|-0-9--|
|------|
|------|
|------|
|------|
|------|
|-0-10-|
|------|
|------|
|------|
|------|
|------|
|-0-11-|
|------|
|------|
|------|
|------|
|------|
|-0-12-|
|------|
|------|
|------|
|------|
|------|
|-0-1--|
|------|
|------|
|------|
|------|
|------|
15
|-0-2--|
|------|
|------|
|------|
|------|
|------|
|-0-3--|
|-------------------------------|
|-------------------------------|
|-------------------------------|
|-------------------------------|
|-------------------------------|
|-0-1-2-3-4-5-6-7-8-9-10-11-12--|
That’s just one octave, starting on E, there is much more of it. Here it is played differently.
|----------------------------|
|----------------------------|
|----------------------------|
|---------------------0-1-2--|
|-----------0-1-2-3-4--------|
|-0-1-2-3-4------------------|
Ab (Ab Bb C Db Eb F G Ab):
|-----------------------------4--|
|-------------------------6-8----|
|-------------------5-6-8--------|
|-------------5-6-8--------------|
|-------4-6-8--------------------|
|-4-6-8--------------------------|
A (A B C# D E F# G# A):
|-----------------------------5--|
|-------------------------7-9----|
|-------------------6-7-9--------|
|-------------6-7-9--------------|
|-------5-7-9--------------------|
|-5-7-9--------------------------|
Bb (Bb C D Eb F G A Bb):
|----------------------------------6--|
|-----------------------------8-10----|
|----------------------7-8-10---------|
|---------------7-8-10----------------|
|--------6-8-10-----------------------|
|-6-8-10------------------------------|
16
B (B C# D# E F# G# A# B):
|----------------------------------7--|
|-----------------------------9-11----|
|----------------------8-9-11---------|
|---------------8-9-11----------------|
|--------7-9-11-----------------------|
|-7-9-11------------------------------|
C (C D E F G A B C):
|---------------------------------------8--|
|---------------------------------10-12----|
|-------------------------9-10-12----------|
|-----------------9-10-12------------------|
|---------8-10-12--------------------------|
|-8-10-12----------------------------------|
Db (Db Eb F Gb Ab Bb C Db):
|-----------------------------------------9--|
|-----------------------------------11-13----|
|--------------------------10-11-13----------|
|-----------------10-11-13-------------------|
|---------9-11-13----------------------------|
|-9-11-13------------------------------------|
D (D E F# G A B C# D):
|-------------------------------------------10--|
|-------------------------------------12-14-----|
|----------------------------11-12-14-----------|
|-------------------11-12-14--------------------|
|----------10-12-14-----------------------------|
|-10-12-14--------------------------------------|
Eb (Eb F G Ab Bb C D Eb):
|-------------------------------------------11--|
|-------------------------------------13-15-----|
|----------------------------12-13-15-----------|
|-------------------12-13-15--------------------|
|----------11-13-15-----------------------------|
|-11-13-15--------------------------------------|
E (E F# G# A B C# D# E):
|-----------------------------0--|
|-------------------------2-4----|
|-------------------1-2-4--------|
|-------------1-2-4--------------|
|-------0-2-4--------------------|
|-0-2-4--------------------------|
F (F G A Bb C D E F):
|-----------------------------1--|
|-------------------------3-5----|
|-------------------2-3-5--------|
|-------------2-3-5--------------|
|-------1-3-5--------------------|
|-1-3-5--------------------------|
Gb (Gb Ab Bb Cb Db Eb F Gb):
|-----------------------------2--|
|-------------------------4-6----|
|-------------------3-4-6--------|
|-------------3-4-6--------------|
|-------2-4-6--------------------|
17
|-2-4-6--------------------------|
G (G A B C D E F# G):
|-----------------------------3--|
|-------------------------5-7----|
|-------------------4-5-7--------|
|-------------4-5-7--------------|
|-------3-5-7--------------------|
|-3-5-7--------------------------|
Triads:
Major
R = Root
T = Major Third
F = Perfect Fifth
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|-F-|---|---|---|
A|-|---|---|---|-T-|---|
E|-|---|---|---|---|-R-|
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|-F-|---|---|---|
D|-|---|---|---|-T-|---|
A|-|---|---|---|---|-R-|
E|-|---|---|---|---|---|
e|-|---|---|---|---|---|
B|-|---|---|-F-|---|---|
G|-|---|---|---|-T-|---|
D|-|---|---|---|---|-R-|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
e|-|---|---|-F-|---|---|
B|-|---|---|---|---|-T-|
G|-|---|---|---|---|-R-|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
Minor:
R = Root
T = Minor Third
F = Perfect Fifth
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|-F-|---|---|---|
A|-|---|---|-T-|---|---|
E|-|---|---|---|---|-R-|
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|-F-|---|---|---|
D|-|---|---|-T-|---|---|
18
A|-|---|---|---|---|-R-|
E|-|---|---|---|---|---|
e|-|---|---|---|---|---|
B|-|---|---|-F-|---|---|
G|-|---|---|-T-|---|---|
D|-|---|---|---|---|-R-|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
e|-|---|---|-F-|---|---|
B|-|---|---|---|-T-|---|
G|-|---|---|---|---|-R-|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
Augmented:
R = Root
T = Major Third
F = Augmented Fifth
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|---|---|-F-|---|---|
A|-|---|---|---|-T-|---|
E|-|---|---|---|---|-R-|
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|-F-|---|---|
D|-|---|---|---|-T-|---|
A|-|---|---|---|---|-R-|
E|-|---|---|---|---|---|
e|-|---|---|---|---|---|
B|-|---|---|---|-F-|---|
G|-|---|---|---|-T-|---|
D|-|---|---|---|---|-R-|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
e|-|---|---|---|-F-|---|
B|-|---|---|---|---|-T-|
G|-|---|---|---|---|-R-|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
Diminished:
R = Root
T = Minor Third
F = Diminished Fifth
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|---|---|---|---|---|
D|-|-F-|---|---|---|---|
A|-|---|---|-T-|---|---|
E|-|---|---|---|---|-R-|
19
e|-|---|---|---|---|---|
B|-|---|---|---|---|---|
G|-|-F-|---|---|---|---|
D|-|---|---|-T-|---|---|
A|-|---|---|---|---|-R-|
E|-|---|---|---|---|---|
e|-|---|---|---|---|---|
B|-|---|-F-|---|---|---|
G|-|---|---|-T-|---|---|
D|-|---|---|---|---|-R-|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
e|-|---|-F-|---|---|---|
B|-|---|---|---|-T-|---|
G|-|---|---|---|---|-R-|
D|-|---|---|---|---|---|
A|-|---|---|---|---|---|
E|-|---|---|---|---|---|
So there’s you basic triads, and combining those major scales and triads, I'll make you a nice mini solo!
~~ ~~~~~~~~ ~ ~ ~
|-----7-10--10-7------8-|-(8)--8------------8---------|-------8-10-----------|
|---8------------8h10---|--------10-----------10------|-8--10------10-8s6--5-|
|-9---------------------|-----------10-9-7-------10-9-|----------------------|
|-----------------------|-----------------------------|----------------------|
|-----------------------|-----------------------------|----------------------|
|-----------------------|-----------------------------|----------------------|
~ ~~~~~
|---8-7-5---8-7---8-7-|---8-7-10b12----|
|-6-------6-----6-----|-6--------------|
|---------------------|----------------|
|---------------------|----------------|
|---------------------|----------------|
|---------------------|----------------|
|-10-8-7-10-8-7----------------------------------------------|
|---------------10-8----10-8---------------------------------|
|--------------------10------10-9-7----9-7-------------------|
|-----------------------------------10-----10-9-7----9-7-----|
|-------------------------------------------------10-----10--|
|------------------------------------------------------------|
|-----------------------------------------------7-8-10-8----|
|------------------------------------------8-10-------------|
|-----------------------------------7-9-10------------------|
|----------------------------7-9-10-------------------------|
|-8-7----8-7----------7-8-10--------------------------------|
|-----10-----10-8-7-8---------------------------------------|
That’s built completely off the C major scale and triads, in the key of C. You can even repeat it!
11.4 - Applying Natural Minor, Harmonic Minor And Melodic Minor Scales.
This one will be broken down into three sections. One for Natural Minor, one for harmonic minor and one for melodic minor. And
then I'll give you another mini solo!
20
Natural Minor.
First off, I'll give you a box pattern. I'm not a huge fan of these but they are good for beginners.
R = Root
o = other note (2, b3, 4, 5, b6, b7)
e|-|-R-|---|-O-|-O-|---|
B|-|-O-|-O-|---|-O-|---|
G|-|-O-|---|-O-|---|---|
D|-|-O-|---|-R-|---|-O-|
A|-|-O-|---|-O-|-O-|---|
E|-|-R-|---|-O-|-O-|---|
Em
|-----------------------------0-2-3--|
|-----------------------0-1-3--------|
|-------------------0-2--------------|
|-------------0-2-4------------------|
|-------0-2-3------------------------|
|-0-2-3------------------------------|
Am
|-----------------------------5-7-8--|
|-----------------------5-6-8--------|
|-------------------5-7--------------|
|-------------5-7-9------------------|
|-------5-7-8------------------------|
|-5-7-8------------------------------|
Harmonic Minor.
I'll just do the same thing. Box pattern and tabs.
e|-|-R-|---|-O-|-O-|---|
B|-|-O-|-O-|---|---|-O-|
G|-|-O-|---|-O-|---|---|
D|-|---|-O-|-R-|---|-O-|
A|-|-O-|---|-O-|-O-|---|
E|-|-R-|---|-O-|-O-|---|
E Harmonic Minor
|-----------------------------0-2-3--|
|-----------------------0-1-4--------|
|-------------------0-2--------------|
|-------------1-2-4------------------|
|-------0-2-3------------------------|
|-0-2-3------------------------------|
A Harmonic minor
|-----------------------------5-7-8--|
|-----------------------5-6-9--------|
|-------------------5-7--------------|
|-------------6-7-9------------------|
|-------5-7-8------------------------|
|-5-7-8------------------------------|
Melodic Minor:
e|-|-R-|---|-O-|-O-|---|
B|-|-O-|---|-O-|---|-O-|
21
G|-|-O-|---|-O-|---|---|
D|-|---|-O-|-R-|---|-O-|
A|-|-O-|---|-O-|---|-O-|
E|-|-R-|---|-O-|-O-|---|
E Melodic Minor
|-----------------------------0-2-3--|
|-----------------------0-2-4--------|
|-------------------0-2--------------|
|-------------1-2-4------------------|
|-------0-2-4------------------------|
|-0-2-3------------------------------|
A Melodic minor
|-----------------------------5-7-8--|
|-----------------------5-7-9--------|
|-------------------5-7--------------|
|-------------6-7-9------------------|
|-------5-7-9------------------------|
|-5-7-8------------------------------|
4/4
||--12h13p12--------------------------------12h13-16h17p16h17p16h17p|
||o----------15p13p12-----------------12h13-------------------------|
||--------------------14p13-----13h14-------------------------------|
||--------------------------15--------------------------------------|
||o-----------------------------------------------------------------|
||------------------------------------------------------------------|
|-16p13p12-------------12h13-16h17p16h17p16h17p16-13p12------------------------------|
|----------13p12h13h15----------------------------------15p13------------------------|
|-------------------------------------------------------------14p13------------------|
|-------------------------------------------------------------------14p12----14p12---|
|-------------------------------------------------------------------------14---------|
|------------------------------------------------------------------------------------|
|---------------------------------------------12--17-16-17-13-17-16-----||
|----------------------------13-------13-0-15--------------------------o||
|-----------------------------------------------------------------------||
|-12h14p10h12h14p10h12h14h15----14h15-----------------------------------||
|----------------------------------------------------------------------o||
|-----------------------------------------------------------------------||
Ionian.
e|-|-R-|---|-O-|---|-O-|
B|-|---|---|-O-|---|-O-|
G|-|---|-O-|-O-|---|-O-|
D|-|---|-O-|-R-|---|-O-|
A|-|-O-|---|-O-|---|-O-|
E|-|-R-|---|-O-|---|-O-|
Dorian.
e|-|-R-|---|-O-|-O-|---|
B|-|-O-|---|-O-|-O-|---|
G|-|-O-|---|-O-|---|---|
D|-|-O-|---|-R-|---|-O-|
A|-|-O-|---|-O-|---|-O-|
22
E|-|-R-|---|-O-|-O-|---|
Phrygian.
e|-|-R-|-O-|---|-O-|---|
B|-|-O-|-O-|---|-O-|---|
G|-|-O-|---|-O-|---|---|
D|-|-O-|---|-R-|-O-|---|
A|-|-O-|---|-O-|-O-|---|
E|-|-R-|-O-|---|-O-|---|
Lydian.
e|-|-R-|---|-O-|---|-O-|
B|-|---|---|-O-|---|-O-|
G|-|---|-O-|---|-O-|-O-|
D|-|---|-O-|-R-|---|-O-|
A|-|---|-O-|-O-|---|-O-|
E|-|-R-|---|-O-|---|-O-|
Mixolydian.
e|-|-R-|---|-O-|---|-O-|
B|-|---|---|-O-|-O-|---|
G|-|---|-O-|-O-|---|-O-|
D|-|-O-|---|-R-|---|-O-|
A|-|-O-|---|-O-|---|-O-|
E|-|-R-|---|-O-|---|-O-|
Aeolian.
e|-|-R-|---|-O-|-O-|---|
B|-|-O-|-O-|---|-O-|---|
G|-|-O-|---|-O-|---|---|
D|-|-O-|---|-R-|---|-O-|
A|-|-O-|---|-O-|-O-|---|
E|-|-R-|---|-O-|-O-|---|
Locrian.
e|-|-R-|-O-|---|-O-|---|
B|-|---|-O-|---|-O-|---|
G|-|-O-|---|-O-|-O-|---|
D|-|-O-|---|-R-|-O-|---|
A|-|-O-|-O-|---|-O-|---|
E|-|-R-|-O-|---|-O-|---|
23