book3

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MARTYN KRÜGEL’S BASS MANUAL

Book 3: Harmonic Minor Keys FREE ELECTRONIC PDF VERSION 1.1 - 2009

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

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

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

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

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CONTENTS

INTRODUCTION

Harmonic Minor Keys – The Harmonic Minor Scale Patterns – Comments on Fingerings and Technique – Comments on Improvisation – A Final Word

Pg. 5

Chapter 1

THE KEY OF A MINOR

Pg. 13

Chapter 2

THE KEY OF E MINOR

Pg. 22

Chapter 3

THE KEY OF B MINOR

Pg. 31

Chapter 4

THE KEY OF F# MINOR

Chapter 5

THE KEY OF C# MINOR

Chapter 6

THE KEY OF G# MINOR

Chapter 7

THE KEY OF D# MINOR

Chapter 8

THE KEY OF A# MINOR

Chapter 9

THE KEY OF D MINOR

Chapter 10

THE KEY OF G MINOR

Chapter 11

THE KEY OF C MINOR

Chapter 12

THE KEY OF F MINOR

Pg. 112

Chapter 13

THE KEY OF Bb MINOR

Pg. 121

Chapter 14

THE KEY OF Eb MINOR

Pg. 130

Chapter 15

THE KEY OF Ab MINOR

Pg. 139

Pg. 40

The Notes Pg. 49

The Bass Fingerboard Pg. 58

The Harmonic Minor Scale Patterns Intervals Harmony: The Scale Tone Chords (triads)

Pg. 67

Pg. 76

Pg. 85

Pg. 94

Further Harmonization of the Scale Tone Chords

Pg. 103

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INTRODUCTION Harmonic Minor Keys In book 1 of this series that deals with the major keys the student was advised to spend a considerable amount of time on the application of the major keys and to gain a thorough understanding thereof because this will result in the student comprehending a lot of musical concepts but also the rapid understanding of the subject matter in all the other books of this series. In book 2 of this series we then observed that when we start on the sixth degree of the major key, how the natural minor scale is produced and by basically shifting and making the sixth degree of every major key the new starting point or (Key Tonality) how the natural minor key is then subsequently formed. We also learned that the minor key that is formed from the sixth degree of a major key is called the relative minor key of that major key and that the two relative keys will share the exact same notes and key signature. Now in book 3 we will look at the harmonic minor keys and we will again use the same methodology that we used in the previous two books but the practical application here, will yet again be very simple because of our understanding of firstly the major keys in book 1 and secondly our understanding of the natural minor keys in book 2. The harmonic minor scale is pretty straightforward because it is just a natural minor scale with a raised th th (sharpened) 7 degree. In other words the 7 note of the natural minor scale is raised (sharpened) to form the harmonic minor scale. For example: The notes of the A – NATURAL MINOR SCALE are A B C D E F G and th the 7 degree or note in that scale is the note G; therefore the notes of the A – HARMONIC MINOR SCALE will be A B C D E F G#. At first glance you might think that the consequence of this will be rather insignificant but when you observe the scale tone chords in the harmonic minor key for example, you will detect considerable th changes as a result of merely raising this 7 degree. Below is a table outlining the chapters of book 1 and book 2 (relative major and minor keys) and the new harmonic minor keys of book 3:

Book 1: Major Keys Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15

C G D A E B F# C# F Bb Eb Ab Db Gb Cb

Major Major Major Major Major Major Major Major Major Major Major Major Major Major Major

Book 2: Natural Minor Keys A Minor E Minor B Minor F# Minor C# Minor G# Minor D# Minor A# Minor D Minor G Minor C Minor F Minor Bb Minor Eb Minor Ab Minor

Book 3: Harmonic Minor Keys A Harmonic E Harmonic B Harmonic F# Harmonic C# Harmonic G# Harmonic D# Harmonic A# Harmonic D Harmonic G Harmonic C Harmonic F Harmonic Bb Harmonic Eb Harmonic Ab Harmonic

The Harmonic Minor Scale Patterns In this book 3 of the series we will now see how the harmonic minor keys are applied on the bass. Since we will be using the same methodology that we used in book 1 and book 2 we will now have harmonic minor scale patterns that will cover the bass fingerboard utilizing the exact same principal that we used in the previous two books but applying it now in the formation of the new harmonic minor keys. We will again have three patterns starting with the root note on the top string covering the fingerboard to the left, the center and to the right. And again we will also have three almost identical patterns but with the root note or starting point on the second string and then finally and as always, the single string pattern that can and must be played on all four strings. And remember, if you have a thorough understanding of the major keys and the natural minor keys and the application thereof the information given here will again be purely a matter of principal and more easily understood since the bulk of the work was already done in the previous two books.

Page |6 [The numerical value indicates the sequential order of the pattern and also represents the numerical value of the harmonic minor scale. The diagrams here and throughout the series illustrate your viewpoint when you’re holding the bass].

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

Pattern to the Left

Pattern in the Center

Pattern to the Right

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

Pattern to the Left



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

Single String Pattern



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



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



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



Each and every ‘ROADMAP OF THE HARMONIC MINOR SCALE OR KEY’ produced by linking the harmonic minor scale patterns, remains the same in visual form to any other individual harmonic minor key – a kind of mirror effect that takes place. This incident occurs on instruments like the guitar and bass purely by their design, where the ‘picture’ or pattern of one key looks exactly the same (visually) as the ‘picture’ or pattern of any other similar key. This repetition makes it just a little easier to learn the

Page |7 instrument. The subsequent notes calculated in a harmonic minor scale sequence from any given starting point will bring about that starting point’s harmonic minor key. The starting point for example in the key of A HARMONIC MINOR will be the root note or key note A and this starting point is also called the KEY TONALITY. It is the position of the notes and their note names and their respective sounds that differentiate one key from the other. 

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

And please just keep in mind that if you have a thorough understanding of the major keys and the natural minor keys and the application thereof the information given here will again be purely a matter of principal and more easily understood since the bulk of the work was already done in the previous two books. In book 2 we learned that by starting on the sixth degree of the major key the natural minor scale is produced and that it is actually just a shift that occurs in that the sixth degree of every major key will now become our starting point (Key Tonality) in the formation of the natural minor key. And th now we see that the harmonic minor scale is just a natural minor scale with a raised (sharpened) 7 th degree. In other words the 7 note of the natural minor scale is raised (sharpened) to form the harmonic minor scale and the subsequent formation of the harmonic minor key.

Comments on Fingerings and Technique You should by now be familiar with the concept of Finger Articulation as discussed in the introductions of the first two books together with a few guidelines on technique. But let me just reiterate once more that the final objective of ‘finger articulation’ is learning the ability to play any pattern or scale with any finger. What I will do now is play the first three harmonic minor scale patterns in the following sets of photographs so that you can observe my fingerings just to check your fingerings against mine (if your fingerings differ from mine and you can play the pattern comfortably, then that is fine – this is just a guideline). Also see if you can find more tips on technique by observing what I’m doing. [One photo for every degree of the pattern ascending and descending]:

Page |8 Pattern to the Left

st

2

Degree

3 Degree

th

7 Degree

th

8 Degree

th

8 Degree

th

7 Degree

th

3 Degree

rd

2

1 Degree

6 Degree

9 Degree

4 Degree

nd

rd

4 Degree

th

9 Degree

th

6 Degree

nd

th

5 Degree

th

th

10 Degree

th

5 Degree

th

th

st

Degree

1 Degree

3 Degree

4 Degree


st

1 Degree

2

nd

Degree

rd

th

th

5 Degree

Page |9 th

6 Degree

th

11 Degree

th

6 Degree

th

7 Degree

th

10 Degree

th

5 Degree

th

9 Degree

th

8 Degree

th

3 Degree

rd

4 Degree

th

9 Degree

8 Degree

9 Degree

4 Degree

th

10 Degree

th

th

7 Degree

rd

2

th

5 Degree

th

10 Degree

th

nd

Degree

st

1 Degree


st

2

Degree

3 Degree

th

7 Degree

8 Degree

1 Degree

6 Degree

th

11 Degree

nd

th

th

12 Degree

th

11 Degree

th

10 Degree

th

th

th

9 Degree

P a g e | 10 th

7 Degree

rd

2

8 Degree

3 Degree

th

nd

th

th

6 Degree

th

5 Degree

4 Degree

st

Degree

1 Degree


st

2

Degree

3 Degree

th

6 Degree

th

7 Degree

th

6 Degree

th

5 Degree

rd

2

1 Degree

5 Degree

7 Degree

3 Degree

nd

nd

Degree

rd

4 Degree

th

8 Degree

th

4 Degree

st

1 Degree

th

th

th

P a g e | 11

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

Phrasing

Arpeggios

Relaxation

Note Repetition

Tempo

Speed

Note Selection

Taking Risks

Volume

Beat

Melody

Trills

Listening

Finger Articulation

Coordination

Legato

Intervals

Timing

Single String

Amplitude

Pizzicato

Modes

Syncopation

Chords

Rhythms

Articulation

Question & Answer

Emotion

Blues

Tremolo

Phantom Notes

Concentration

Jazz

Silence

Dynamics

Triplets

Open Strings

Length of Note

Space

Ornaments

Harmonics

Bebop

Triads

Discipline

Scatting

Tapping

Visualizations

Sliding

Music

A Final Word In working through this book, what you as the student need to do is to apply the things that are shown to you. For example: When you see a section dealing with intervals and in that section it is stated that the note C and G# together produces an augmented fifth interval, you must then take your bass and apply this and play these two notes and listen and observe and say to yourself, okay, so this is an augmented fifth interval and approach all the other topics in the same fashion. Also keep in mind that one of your objectives is to become technically adept at producing the things that you learn on your instrument and in order to do that, you will have to commit yourself to the physical practicing of the instrument. You will also observe when working through this book how each chapter is almost a carbon copy of the next chapter except for the note names and their respective sounds and the different positions on the fingerboard that changes with every different harmonic minor key. The student is advised to compare the chapters with one another to see and find the characteristics of the harmonic minor keys. When you work slowly through the chapters in this book you will begin to conceptualize the application of theory on your bass and with a little persistence and before you know it you’ll have an extensive music vocabulary or a sort of information database that you can draw on when you play. Do not be put of by the jargon or terminology used in the theory because as you gradually work through every chapter you will come to terms with the important things. Once you have grasped and worked through the first chapter of this book, every subsequent chapter will also be easier because you will basically be doing the same stuff. Your ability to hear things in a musical context will also develop and your ear will automatically catch-up with the things you are doing and this facility to hear things will begin to subconsciously dictate what you want or need to do. Observe this phenomenon when it occurs and cultivate it further. When you work diligently through this book there will come a stage at some point when you’ll sit and practice and all of a sudden you’ll pick up a familiar tune and you’ll be

P a g e | 12 able to play it or a close variation thereof. Give it a couple of months and be patient. The first couple of months are difficult but only because everything is so new but once you have familiarized yourself with a couple of concepts things will quickly start to make sense.

P a g e | 13

Chapter 1 THE KEY OF A MINOR (Harmonic) The Notes The key of A MINOR (Harmonic) is derived from the A HARMONIC MINOR SCALE. The notes of the A HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I A

II B

III C

IV D

V E

VI F

VII G#

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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

The Harmonic Minor Scale Patterns The three harmonic minor scale patterns with the root note on the TOP STRING:

Pattern to the Left



P a g e | 14


Pattern to the Left





Intervals

I A A

A

A

A

A

A

A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G#

⇩ A

Major second interval

Minor third interval (b3)

Perfect fourth interval

Perfect fifth interval

Minor sixth interval (b6/b13)

Major seventh interval

Octave

P a g e | 15

II B B

B

B

B

B

B

B

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G#

⇩ A

⇩ B

Minor second interval (b2/b9)



Diminished fifth interval (b5)

Major sixth interval

Minor seventh interval (b7)

Octave

C

C

C

C

C

C

C

⇩ D

⇩ E

⇩ F

⇩ G#

⇩ A

⇩ B

⇩ C


Major third interval


Augmented fifth interval (#5)



D

D

D

D

D

D

D

⇩ E

⇩ F

⇩ G#

⇩ A

⇩ B

⇩ C

⇩ D



Augmented fourth interval (#4/#11)




III C

Octave

IV D

Octave

P a g e | 16

V E E

E

E

E

E

E

E

⇩ F

⇩ G#

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E







Octave

F

F

F

F

F

F

F

⇩ G#

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F

Augmented second interval (#2/#9)






Octave

G#

G#

G#

G#

G#

G#

G#

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G#



Diminished fourth interval (b4/b11)



Diminished seventh interval (bb7)

Octave

VI F

VII G#

P a g e | 17

Harmony: The Scale Tone Chords (triads)

1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

A C E

B D F

C E G#

D F A

E G# B

F A C

G# B D

I

A Minor

1st

A

3rd

C (b3)

5th

E

II

B Diminished

1st

B

3rd

D (b3)

5th

F (b5)

P a g e | 18

III

C Augmented

1st

C

3rd

E

5th

G#(#5)

P a g e | 19

IV

D Minor

1st

D

3rd

F (b3)

5th

A

V

E Major

1st

E

3rd

G#

5th

B

P a g e | 20

VI

F Major

1st

F

3rd

A

5th

C

P a g e | 21

VII

1st

G# Diminished

G#

3rd

5th

B (b3)

D (b5)

Further Harmonization of the Scale Tone Chords in A Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

A Minor/Major Seventh

B Minor Seven flat Five

C Major Seventh sharp Five

D Minor Seventh

E7 (Seventh)

F Major Seventh

G# Diminished Seventh

A C E G#

B D F A

C E G# B

D F A C

E G# B D

F A C E

G# B D F

P a g e | 22

Chapter 2 THE KEY OF E MINOR (Harmonic) The Notes The key of E MINOR (Harmonic) is derived from the E HARMONIC MINOR SCALE. The notes of the E HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I E

II F#

III G

IV A

V B

VI C

VII D#

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 23


Pattern to the Left





Intervals

I E E

E

E

E

E

E

E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D#

⇩ E







Octave

P a g e | 24

II F# F#

F#

F#

F#

F#

F#

F#

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D#

⇩ E

⇩ F#







Octave

G

G

G

G

G

G

G

⇩ A

⇩ B

⇩ C

⇩ D#

⇩ E

⇩ F#

⇩ G







A

A

A

A

A

A

A

⇩ B

⇩ C

⇩ D#

⇩ E

⇩ F#

⇩ G

⇩ A







III G

Octave

IV A

Octave

P a g e | 25

V B B

B

B

B

B

B

B

⇩ C

⇩ D#

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B







Octave

C

C

C

C

C

C

C

⇩ D#

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C







Octave

D#

D#

D#

D#

D#

D#

D#

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D#







Octave

VI C

VII D#

P a g e | 26


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

E G B

F# A C

G B D#

A C E

B D# F#

C E G

D# F# A

I

E Minor

1st

E

3rd

G (b3)

5th

B

II

F# Diminished

1st

F#

3rd

A (b3)

5th

C (b5)

P a g e | 27

III

G Augmented

1st

G

3rd

B

5th

D#(#5)

P a g e | 28

IV

A Minor

1st

A

3rd

C (b3)

5th

E

V

B Major

1st

B

3rd

D#

5th

F#

P a g e | 29

VI

C Major

1st

C

3rd

E

5th

G

P a g e | 30

VII

1st

D# Diminished

D#

3rd

5th

F# (b3)

A (b5)

Further Harmonization of the Scale Tone Chords in E Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

E Minor/Major Seventh

F# Minor Seven flat Five

G Major Seventh sharp Five

A Minor Seventh

B7 (Seventh)

C Major Seventh

D# Diminished Seventh

E G B D#

F# A C E

G B D# F#

A C E G

B D# F# A

C E G B

D# F# A C

P a g e | 31

Chapter 3 THE KEY OF B MINOR (Harmonic) The Notes The key of B MINOR (Harmonic) is derived from the B HARMONIC MINOR SCALE. The notes of the B HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I B

II C#

III D

IV E

V F#

VI G

VII A#

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 32


Pattern to the Left





Intervals

I B B

B

B

B

B

B

B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A#

⇩ B







Octave

P a g e | 33

II C# C#

C#

C#

C#

C#

C#

C#

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A#

⇩ B

⇩ C#







Octave

D

D

D

D

D

D

D

⇩ E

⇩ F#

⇩ G

⇩ A#

⇩ B

⇩ C#

⇩ D







E

E

E

E

E

E

E

⇩ F#

⇩ G

⇩ A#

⇩ B

⇩ C#

⇩ D

⇩ E







III D

Octave

IV E

Octave

P a g e | 34

V F# F#

F#

F#

F#

F#

F#

F#

⇩ G

⇩ A#

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#







Octave

G

G

G

G

G

G

G

⇩ A#

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G







Octave

A#

A#

A#

A#

A#

A#

A#

⇩ B

⇩ C#

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A#







Octave

VI G

VII A#

P a g e | 35


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

B D F#

C# E G

D F# A#

E G B

F# A# C#

G B D

A# C# E

I

B Minor

1st

B

3rd

D (b3)

5th

F#

II

C# Diminished

1st

C#

3rd

E (b3)

5th

G (b5)

P a g e | 36

III

D Augmented

1st

D

3rd

F#

5th

A#(#5)

P a g e | 37

IV

E Minor

1st

E

3rd

G (b3)

5th

B

V

F# Major

1st

F#

3rd

A#

5th

C#

P a g e | 38

VI

G Major

1st

G

3rd

B

5th

D

P a g e | 39

VII

1st

A# Diminished

A#

3rd

C# (b3)

5th

E (b5)

Further Harmonization of the Scale Tone Chords in B Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

B Minor/Major Seventh

C# Minor Seven flat Five

D Major Seventh sharp Five

E Minor Seventh

F#7 (Seventh)

G Major Seventh

A# Diminished Seventh

B D F# A#

C# E G B

D F# A# C#

E G B D

F# A# C# E

G B D F#

A# C# E G

P a g e | 40

Chapter 4 THE KEY OF F# MINOR (Harmonic) The Notes The key of F# MINOR (Harmonic) is derived from the F# HARMONIC MINOR SCALE. The notes of the F# HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I F#

II G#

III A

IV B

V C#

VI D

VII E#

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 41


Pattern to the Left





Intervals

I F# F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E#

⇩ F#







Octave

P a g e | 42

II G# G#

G#

G#

G#

G#

G#

G#

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E#

⇩ F#

⇩ G#







Octave

A

A

A

A

A

A

A

⇩ B

⇩ C#

⇩ D

⇩ E#

⇩ F#

⇩ G#

⇩ A







B

B

B

B

B

B

B

⇩ C#

⇩ D

⇩ E#

⇩ F#

⇩ G#

⇩ A

⇩ B







III A

Octave

IV B

Octave

P a g e | 43

V C# C#

C#

C#

C#

C#

C#

C#

⇩ D

⇩ E#

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#







Octave

D

D

D

D

D

D

D

⇩ E#

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D







Octave

E#

E#

E#

E#

E#

E#

E#

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C#

⇩ D

⇩ E#







Octave

VI D

VII E#

P a g e | 44


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

F# A C#

G# B D

A C# E#

B D F#

C# E# G#

D F# A

E# G# B

I

F# Minor

1st

F#

3rd

A (b3)

5th

C#

II

G# Diminished

1st

G#

3rd

B (b3)

5th

D (b5)

P a g e | 45

III

A Augmented

1st

A

3rd

C#

5th

E#(#5)

P a g e | 46

IV

B Minor

1st

B

3rd

D (b3)

5th

F#

V

C# Major

1st

C#

3rd

E#

5th

G#

P a g e | 47

VI

D Major

1st

D

3rd

F#

5th

A

P a g e | 48

VII

1st

E# Diminished

E#

3rd

G# (b3)

5th

B (b5)

Further Harmonization of the Scale Tone Chords in F# Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

F# Minor/Major Seventh

G# Minor Seven flat Five

A Major Seventh sharp Five

B Minor Seventh

C#7 (Seventh)

D Major Seventh

E# Diminished Seventh

F# A C# E#

G# B D F#

A C# E# G#

B D F# A

C# E# G# B

D F# A C#

E# G# B D

P a g e | 49

Chapter 5 THE KEY OF C# MINOR (Harmonic) The Notes The key of C# MINOR (Harmonic) is derived from the C# HARMONIC MINOR SCALE. The notes of the C# HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I C#

II D#

III E

IV F#

V G#

VI A

VII B#

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 50


Pattern to the Left





Intervals

I C# C#

C#

C#

C#

C#

C#

C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B#

⇩ C#







Octave

P a g e | 51

II D# D#

D#

D#

D#

D#

D#

D#

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B#

⇩ C#

⇩ D#







Octave

E

E

E

E

E

E

E

⇩ F#

⇩ G#

⇩ A

⇩ B#

⇩ C#

⇩ D#

⇩ E







F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A

⇩ B#

⇩ C#

⇩ D#

⇩ E

⇩ F#







III E

Octave

IV F#

Octave

P a g e | 52

V G# G#

G#

G#

G#

G#

G#

G#

⇩ A

⇩ B#

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#







Octave

A

A

A

A

A

A

A

⇩ B#

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A







Octave

B#

B#

B#

B#

B#

B#

B#

⇩ C#

⇩ D#

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B#







Octave

VI A

VII B#

P a g e | 53


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

C# E G#

D# F# A

E G# B#

F# A C#

G# B# D#

A C# E

B# D# F#

I

C# Minor

1st

C#

3rd

E (b3)

5th

G#

II

D# Diminished

1st

D#

3rd

F# (b3)

5th

A (b5)

P a g e | 54

III

E Augmented

1st

E

3rd

G#

5th

B#(#5)

P a g e | 55

IV

F# Minor

1st

F#

3rd

A (b3)

5th

C#

V

G# Major

1st

G#

3rd

B#

5th

D#

P a g e | 56

VI

A Major

1st

A

3rd

C#

5th

E

P a g e | 57

VII

1st

B# Diminished

B#

3rd

D# (b3)

5th

F# (b5)

Further Harmonization of the Scale Tone Chords in C# Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

C# Minor/Major Seventh

D# Minor Seven flat Five

E Major Seventh sharp Five

F# Minor Seventh

G#7 (Seventh)

A Major Seventh

B# Diminished Seventh

C# E G# B#

D# F# A C#

E G# B# D#

F# A C# E

G# B# D# F#

A C# E G#

B# D# F# A

P a g e | 58

Chapter 6 THE KEY OF G# MINOR (Harmonic) The Notes The key of G# MINOR (Harmonic) is derived from the G# HARMONIC MINOR SCALE. The notes of the G# HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I G#

II A#

III B

IV C#

V D#

VI E

VII F##

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

In written musical form the G# HARMONIC MINOR SCALE is presented in this manner: Treble Clef

Bass Clef

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

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


Pattern to the Left



P a g e | 59


Pattern to the Left





Intervals

I G# G#

G#

G#

G#

G#

G#

G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F##

⇩ G#







Octave

P a g e | 60

II A# A#

A#

A#

A#

A#

A#

A#

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F##

⇩ G#

⇩ A#







Octave

B

B

B

B

B

B

B

⇩ C#

⇩ D#

⇩ E

⇩ F##

⇩ G#

⇩ A#

⇩ B







C#

C#

C#

C#

C#

C#

C#

⇩ D#

⇩ E

⇩ F##

⇩ G#

⇩ A#

⇩ B

⇩ C#







III B

Octave

IV C#

Octave

P a g e | 61

V D# D#

D#

D#

D#

D#

D#

D#

⇩ E

⇩ F##

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#







Octave

E

E

E

E

E

E

E

⇩ F##

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E







Octave

F##

F##

F##

F##

F##

F##

F##

⇩ G#

⇩ A#

⇩ B

⇩ C#

⇩ D#

⇩ E

⇩ F##







Octave

VI E

VII F##

P a g e | 62


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

G# B D#

A# C# E

B D# F##

C# E G#

D# F## A#

E G# B

F## A# C#

I

G# Minor

1st

G#

3rd

B (b3)

5th

D#

II

A# Diminished

1st

A#

3rd

C# (b3)

5th

E (b5)

P a g e | 63

III

B Augmented

1st

B

3rd

D#

5th

F##(#5)

P a g e | 64

IV

C# Minor

1st

C#

3rd

E (b3)

5th

G#

V

D# Major

1st

D#

3rd

F##

5th

A#

P a g e | 65

VI

E Major

1st

E

3rd

G#

5th

B

P a g e | 66

VII

1st

F## Diminished

F##

3rd

A# (b3)

5th

C# (b5)

Further Harmonization of the Scale Tone Chords in G# Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

G# Minor/Major Seventh

A# Minor Seven flat Five

B Major Seventh sharp Five

C# Minor Seventh

D#7 (Seventh)

E Major Seventh

F## Diminished Seventh

G# B D# F##

A# C# E G#

B D# F## A#

C# E G# B

D# F## A# C#

E G# B D#

F## A# C# E

P a g e | 67

Chapter 7 THE KEY OF D# MINOR (Harmonic) The Notes The key of D# MINOR (Harmonic) is derived from the D# HARMONIC MINOR SCALE. The notes of the D# HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I D#

II E#

III F#

IV G#

V A#

VI B

VII C##

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

In written musical form the D# HARMONIC MINOR SCALE is presented in this manner: Treble Clef

Bass Clef

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

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


Pattern to the Left



P a g e | 68


Pattern to the Left





Intervals

I D# D#

D#

D#

D#

D#

D#

D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C##

⇩ D#







Octave

P a g e | 69

II E# E#

E#

E#

E#

E#

E#

E#

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C##

⇩ D#

⇩ E#







Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A#

⇩ B

⇩ C##

⇩ D#

⇩ E#

⇩ F#







G#

G#

G#

G#

G#

G#

G#

⇩ A#

⇩ B

⇩ C##

⇩ D#

⇩ E#

⇩ F#

⇩ G#







III F#

Octave

IV G#

Octave

P a g e | 70

V A# A#

A#

A#

A#

A#

A#

A#

⇩ B

⇩ C##

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#







Octave

B

B

B

B

B

B

B

⇩ C##

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B







Octave

C##

C##

C##

C##

C##

C##

C##

⇩ D#

⇩ E#

⇩ F#

⇩ G#

⇩ A#

⇩ B

⇩ C##







Octave

VI B

VII C##

P a g e | 71


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

D# F# A#

E# G# B

F# A# C##

G# B D#

A# C## E#

B D# F#

C## E# G#

I

D# Minor

1st

D#

3rd

F# (b3)

5th

A#

II

E# Diminished

1st

E#

3rd

G# (b3)

5th

B (b5)

P a g e | 72

III

F# Augmented

1st

F#

3rd

A#

5th

C##(#5)

P a g e | 73

IV

G# Minor

1st

G#

3rd

B (b3)

5th

D#

V

A# Major

1st

A#

3rd

C##

5th

E#

P a g e | 74

VI

B Major

1st

B

3rd

D#

5th

F#

P a g e | 75

VII

1st

C## Diminished

C##

3rd

E# (b3)

5th

G# (b5)

Further Harmonization of the Scale Tone Chords in D# Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

D# Minor/Major Seventh

E# Minor Seven flat Five

F# Major Seventh sharp Five

G# Minor Seventh

A#7 (Seventh)

B Major Seventh

C## Diminished Seventh

D# F# A# C##

E# G# B D#

F# A# C## E#

G# B D# F#

A# C## E# G#

B D# F# A#

C## E# G# B

P a g e | 76

Chapter 8 THE KEY OF A# MINOR (Harmonic) The Notes The key of A# MINOR (Harmonic) is derived from the A# HARMONIC MINOR SCALE. The notes of the A# HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I A#

II B#

III C#

IV D#

V E#

VI F#

VII G##

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

In written musical form the A# HARMONIC MINOR SCALE is presented in this manner: Treble Clef

Bass Clef

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

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


Pattern to the Left



P a g e | 77


Pattern to the Left





Intervals

I A# A#

A#

A#

A#

A#

A#

A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G##

⇩ A#







Octave

P a g e | 78

II B# B#

B#

B#

B#

B#

B#

B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G##

⇩ A#

⇩ B#







Octave

C#

C#

C#

C#

C#

C#

C#

⇩ D#

⇩ E#

⇩ F#

⇩ G##

⇩ A#

⇩ B#

⇩ C#







D#

D#

D#

D#

D#

D#

D#

⇩ E#

⇩ F#

⇩ G##

⇩ A#

⇩ B#

⇩ C#

⇩ D#







III C#

Octave

IV D#

Octave

P a g e | 79

V E# E#

E#

E#

E#

E#

E#

E#

⇩ F#

⇩ G##

⇩ A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#







Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G##

⇩ A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#







Octave

G##

G##

G##

G##

G##

G##

G##

⇩ A#

⇩ B#

⇩ C#

⇩ D#

⇩ E#

⇩ F#

⇩ G##







Octave

VI F#

VII G##

P a g e | 80


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

A# C# E#

B# D# F#

C# E# G##

D# F# A#

E# G## B#

F# A# C#

G## B# D#

I

A# Minor

1st

A#

3rd

C# (b3)

5th

E#

II

B# Diminished

1st

B#

3rd

D# (b3)

5th

F# (b5)

P a g e | 81

III

C# Augmented

1st

C#

3rd

E#

5th

G##(#5)

P a g e | 82

IV

D# Minor

1st

D#

3rd

F# (b3)

5th

A#

V

E# Major

1st

E#

3rd

G##

5th

B#

P a g e | 83

VI

F# Major

1st

F#

3rd

A#

5th

C#

P a g e | 84

VII

1st

G## Diminished

G##

3rd

B# (b3)

5th

D# (b5)

Further Harmonization of the Scale Tone Chords in A# Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

A# Minor/Major Seventh

B# Minor Seven flat Five

C# Major Seventh sharp Five

D# Minor Seventh

E#7 (Seventh)

F# Major Seventh

G## Diminished Seventh

A# C# E# G##

B# D# F# A#

C# E# G## B#

D# F# A# C#

E# G## B# D#

F# A# C# E#

G## B# D# F#

P a g e | 85

Chapter 9 THE KEY OF D MINOR (Harmonic) The Notes The key of D MINOR (Harmonic) is derived from the D HARMONIC MINOR SCALE. The notes of the D HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I D

II E

III F

IV G

V A

VI Bb

VII C#

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 86


Pattern to the Left





Intervals

I D D

D

D

D

D

D

D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C#

⇩ D







Octave

P a g e | 87

II E E

E

E

E

E

E

E

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C#

⇩ D

⇩ E







Octave

F

F

F

F

F

F

F

⇩ G

⇩ A

⇩ Bb

⇩ C#

⇩ D

⇩ E

⇩ F







G

G

G

G

G

G

G

⇩ A

⇩ Bb

⇩ C#

⇩ D

⇩ E

⇩ F

⇩ G







III F

Octave

IV G

Octave

P a g e | 88

V A A

A

A

A

A

A

A

⇩ Bb

⇩ C#

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A







Octave

Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C#

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ Bb







Octave

C#

C#

C#

C#

C#

C#

C#

⇩ D

⇩ E

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C#







Octave

VI Bb

VII C#

P a g e | 89


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

D F A

E G Bb

F A C#

G Bb D

A C# E

Bb D F

C# E G

I

D Minor

1st

D

3rd

F (b3)

5th

A

II

E Diminished

1st

E

3rd

G (b3)

5th

Bb (b5)

P a g e | 90

III

F Augmented

1st

F

3rd

A

5th

C#(#5)

P a g e | 91

IV

G Minor

1st

G

3rd

Bb (b3)

5th

D

V

A Major

1st

A

3rd

C#

5th

E

P a g e | 92

VI

Bb Major

1st

Bb

3rd

D

5th

F

P a g e | 93

VII

1st

C# Diminished

C#

3rd

E (b3)

5th

G (b5)

Further Harmonization of the Scale Tone Chords in D Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

D Minor/Major Seventh

E Minor Seven flat Five

F Major Seventh sharp Five

G Minor Seventh

A7 (Seventh)

Bb Major Seventh

C# Diminished Seventh

D F A C#

E G Bb D

F A C# E

G Bb D F

A C# E G

Bb D F A

C# E G Bb

P a g e | 94

Chapter 10 THE KEY OF G MINOR (Harmonic) The Notes The key of G MINOR (Harmonic) is derived from the G HARMONIC MINOR SCALE. The notes of the G HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I G

II A

III Bb

IV C

V D

VI Eb

VII F#

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 95


Pattern to the Left





Intervals

I G G

G

G

G

G

G

G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F#

⇩ G







Octave

P a g e | 96

II A A

A

A

A

A

A

A

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F#

⇩ G

⇩ A







Octave

Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ D

⇩ Eb

⇩ F#

⇩ G

⇩ A

⇩ Bb







C

C

C

C

C

C

C

⇩ D

⇩ Eb

⇩ F#

⇩ G

⇩ A

⇩ Bb

⇩ C







III Bb

Octave

IV C

Octave

P a g e | 97

V D D

D

D

D

D

D

D

⇩ Eb

⇩ F#

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D







Octave

Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F#

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ Eb







Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F#







Octave

VI Eb

VII F#

P a g e | 98


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

G Bb D

A C Eb

Bb D F#

C Eb G

D F# A

Eb G Bb

F# A C

I

G Minor

1st

G

3rd

Bb (b3)

5th

D

II

A Diminished

1st

A

3rd

C (b3)

5th

Eb (b5)

P a g e | 99

III

Bb Augmented

1st

Bb

3rd

D

5th

F#(#5)

P a g e | 100

IV

C Minor

1st

C

3rd

Eb (b3)

5th

G

V

D Major

1st

D

3rd

F#

5th

A

P a g e | 101

VI

Eb Major

1st

Eb

3rd

G

5th

Bb

P a g e | 102

VII

1st

F# Diminished

F#

3rd

A (b3)

5th

C (b5)

Further Harmonization of the Scale Tone Chords in G Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

G Minor/Major Seventh

A Minor Seven flat Five

Bb Major Seventh sharp Five

C Minor Seventh

D7 (Seventh)

Eb Major Seventh

F# Diminished Seventh

G Bb D F#

A C Eb G

Bb D F# A

C Eb G Bb

D F# A C

Eb G Bb D

F# A C Eb

P a g e | 103

Chapter 11 THE KEY OF C MINOR (Harmonic) The Notes The key of C MINOR (Harmonic) is derived from the C HARMONIC MINOR SCALE. The notes of the C HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I C

II D

III Eb

IV F

V G

VI Ab

VII B

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 104


Pattern to the Left





Intervals

I C C

C

C

C

C

C

C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ B

⇩ C







Octave

P a g e | 105

II D D

D

D

D

D

D

D

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ B

⇩ C

⇩ D







Octave

Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ G

⇩ Ab

⇩ B

⇩ C

⇩ D

⇩ Eb







F

F

F

F

F

F

F

⇩ G

⇩ Ab

⇩ B

⇩ C

⇩ D

⇩ Eb

⇩ F







III Eb

Octave

IV F

Octave

P a g e | 106

V G G

G

G

G

G

G

G

⇩ Ab

⇩ B

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G







Octave

Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ B

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ Ab







Octave

B

B

B

B

B

B

B

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ B







Octave

VI Ab

VII B

P a g e | 107


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

C Eb G

D F Ab

Eb G B

F Ab C

G B D

Ab C Eb

B D F

I

C Minor

1st

C

3rd

Eb (b3)

5th

G

II

D Diminished

1st

D

3rd

F (b3)

5th

Ab (b5)

P a g e | 108

III

Eb Augmented

1st

Eb

3rd

G

5th

B (#5)

P a g e | 109

IV

F Minor

1st

F

3rd

Ab (b3)

5th

C

V

G Major

1st

G

3rd

B

5th

D

P a g e | 110

VI

Ab Major

1st

Ab

3rd

C

5th

Eb

P a g e | 111

VII

1st

B Diminished

B

3rd

D (b3)

5th

F (b5)

Further Harmonization of the Scale Tone Chords in C Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

C Minor/Major Seventh

D Minor Seven flat Five

Eb Major Seventh sharp Five

F Minor Seventh

G7 (Seventh)

Ab Major Seventh

B Diminished Seventh

C Eb G B

D F Ab C

Eb G B D

F Ab C Eb

G B D F

Ab C Eb G

B D F Ab

P a g e | 112

Chapter 12 THE KEY OF F MINOR (Harmonic) The Notes The key of F MINOR (Harmonic) is derived from the F HARMONIC MINOR SCALE. The notes of the F HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I F

II G

III Ab

IV Bb

V C

VI Db

VII E

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 113


Pattern to the Left





Intervals

I F F

F

F

F

F

F

F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ E

⇩ F







Octave

P a g e | 114

II G G

G

G

G

G

G

G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ E

⇩ F

⇩ G







Octave

Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ C

⇩ Db

⇩ E

⇩ F

⇩ G

⇩ Ab







Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ Db

⇩ E

⇩ F

⇩ G

⇩ Ab

⇩ Bb







III Ab

Octave

IV Bb

Octave

P a g e | 115

V C C

C

C

C

C

C

C

⇩ Db

⇩ E

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C







Octave

Db

Db

Db

Db

Db

Db

Db

⇩ E

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db







Octave

E

E

E

E

E

E

E

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ Db

⇩ E







Octave

VI Db

VII E

P a g e | 116


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

F Ab C

G Bb Db

Ab C E

Bb Db F

C E G

Db F Ab

E G Bb

I

F Minor

1st

F

3rd

Ab (b3)

5th

C

II

G Diminished

1st

G

3rd

Bb (b3)

5th

Db (b5)

P a g e | 117

III

Ab Augmented

1st

Ab

3rd

C

5th

E (#5)

P a g e | 118

IV

Bb Minor

1st

Bb

3rd

Db (b3)

5th

F

V

C Major

1st

C

3rd

E

5th

G

P a g e | 119

VI

Db Major

1st

Db

3rd

F

5th

Ab

P a g e | 120

VII

1st

E Diminished

E

3rd

G (b3)

5th

Bb (b5)

Further Harmonization of the Scale Tone Chords in F Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

F Minor/Major Seventh

G Minor Seven flat Five

Ab Major Seventh sharp Five

Bb Minor Seventh

C7 (Seventh)

Db Major Seventh

E Diminished Seventh

F Ab C E

G Bb Db F

Ab C E G

Bb Db F Ab

C E G Bb

Db F Ab C

E G Bb Db

P a g e | 121

Chapter 13 THE KEY OF Bb MINOR (Harmonic) The Notes The key of Bb MINOR (Harmonic) is derived from the Bb HARMONIC MINOR SCALE. The notes of the Bb HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I Bb

II C

III Db

IV Eb

V F

VI Gb

VII A

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 122


Pattern to the Left





Intervals

I Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ A

⇩ Bb







Octave

P a g e | 123

II C C

C

C

C

C

C

C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ A

⇩ Bb

⇩ C







Octave

Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ F

⇩ Gb

⇩ A

⇩ Bb

⇩ C

⇩ Db







Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ Gb

⇩ A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb







III Db

Octave

IV Eb

Octave

P a g e | 124

V F F

F

F

F

F

F

F

⇩ Gb

⇩ A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F







Octave

Gb

Gb

Gb

Gb

Gb

Gb

Gb

⇩ A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb







Octave

A

A

A

A

A

A

A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ Gb

⇩ A







Octave

VI Gb

VII A

P a g e | 125


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

Bb Db F

C Eb Gb

Db F A

Eb Gb Bb

F A C

Gb Bb Db

A C Eb

I

Bb Minor

1st

Bb

3rd

Db (b3)

5th

F

II

C Diminished

1st

C

3rd

Eb (b3)

5th

Gb (b5)

P a g e | 126

III

Db Augmented

1st

Db

3rd

F

5th

A (#5)

P a g e | 127

IV

Eb Minor

1st

Eb

3rd

Gb (b3)

5th

Bb

V

F Major

1st

F

3rd

A

5th

C

P a g e | 128

VI

Gb Major

1st

Gb

3rd

Bb

5th

Db

P a g e | 129

VII

1st

A Diminished

A

3rd

C (b3)

5th

Eb (b5)

Further Harmonization of the Scale Tone Chords in Bb Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

Bb Minor/Major Seventh

C Minor Seven flat Five

Db Major Seventh sharp Five

Eb Minor Seventh

F7 (Seventh)

Gb Major Seventh

A Diminished Seventh

Bb Db F A

C Eb Gb Bb

Db F A C

Eb Gb Bb Db

F A C Eb

Gb Bb Db F

A C Eb Gb

P a g e | 130

Chapter 14 THE KEY OF Eb MINOR (Harmonic) The Notes The key of Eb MINOR (Harmonic) is derived from the Eb HARMONIC MINOR SCALE. The notes of the Eb HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I Eb

II F

III Gb

IV Ab

V Bb

VI Cb

VII D

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



P a g e | 131


Pattern to the Left





Intervals

I Eb Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ D

⇩ Eb







Octave

P a g e | 132

II F F

F

F

F

F

F

F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ D

⇩ Eb

⇩ F







Octave

Gb

Gb

Gb

Gb

Gb

Gb

Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ D

⇩ Eb

⇩ F

⇩ Gb







Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ Cb

⇩ D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab







III Gb

Octave

IV Ab

Octave

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V Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ Cb

⇩ D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb







Octave

Cb

Cb

Cb

Cb

Cb

Cb

Cb

⇩ D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb







Octave

D

D

D

D

D

D

D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ Cb

⇩ D







Octave

VI Cb

VII D

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1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

Eb Gb Bb

F Ab Cb

Gb Bb D

Ab Cb Eb

Bb D F

Cb Eb Gb

D F Ab

I

Eb Minor

1st

Eb

3rd

Gb (b3)

5th

Bb

II

F Diminished

1st

F

3rd

Ab (b3)

5th

Cb (b5)

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III

Gb Augmented

1st

Gb

3rd

Bb

5th

D (#5)

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IV

Ab Minor

1st

Ab

3rd

Cb (b3)

5th

Eb

V

Bb Major

1st

Bb

3rd

D

5th

F

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VI

Cb Major

1st

Cb

3rd

Eb

5th

Gb

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VII

1st

D Diminished

D

3rd

F (b3)

5th

Ab (b5)

Further Harmonization of the Scale Tone Chords in Eb Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

Eb Minor/Major Seventh

F Minor Seven flat Five

Gb Major Seventh sharp Five

Ab Minor Seventh

Bb7 (Seventh)

Cb Major Seventh

D Diminished Seventh

Eb Gb Bb D

F Ab Cb Eb

Gb Bb D F

Ab Cb Eb Gb

Bb D F Ab

Cb Eb Gb Bb

D F Ab Cb

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Chapter 15 THE KEY OF Ab MINOR (Harmonic) The Notes The key of Ab MINOR (Harmonic) is derived from the Ab HARMONIC MINOR SCALE. The notes of the Ab HARMONIC MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I Ab

II Bb

III Cb

IV Db

V Eb

VI Fb

VII G

1/8

2/9

b3/b10

4/11

5/12

b6/b13

7

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

Bass Clef

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

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


Pattern to the Left



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Pattern to the Left





Intervals

I Ab Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ G

⇩ Ab







Octave

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II Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ G

⇩ Ab

⇩ Bb







Octave

Cb

Cb

Cb

Cb

Cb

Cb

Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb







Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ Fb

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db







III Cb

Octave

IV Db

Octave

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V Eb Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ Fb

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb







Octave

Fb

Fb

Fb

Fb

Fb

Fb

Fb

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb







Octave

G

G

G

G

G

G

G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ Fb

⇩ G







Octave

VI Fb

VII G

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1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Diminished chord

Augmented chord

Minor chord

Major chord

Major chord

Diminished chord

Ab Cb Eb

Bb Db Fb

Cb Eb G

Db Fb Ab

Eb G Bb

Fb Ab Cb

G Bb Db

I

Ab Minor

1st

Ab

3rd

Cb (b3)

5th

Eb

II

Bb Diminished

1st

Bb

3rd

Db (b3)

5th

Fb (b5)

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III

Cb Augmented

1st

Cb

3rd

Eb

5th

G (#5)

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IV

Db Minor

1st

Db

3rd

Fb (b3)

5th

Ab

V

Eb Major

1st

Eb

3rd

G

5th

Bb

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VI

Fb Major

1st

Fb

3rd

Ab

5th

Cb

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VII

1st

G Diminished

G

3rd

Bb (b3)

5th

Db (b5)

Further Harmonization of the Scale Tone Chords in Ab Minor (Harmonic)

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

Ab Minor/Major Seventh

Bb Minor Seven flat Five

Cb Major Seventh sharp Five

Db Minor Seventh

Eb7 (Seventh)

Fb Major Seventh

G Diminished Seventh

Ab Cb Eb G

Bb Db Fb Ab

Cb Eb G Bb

Db Fb Ab Cb

Eb G Bb Db

Fb Ab Cb Eb

G Bb Db Fb

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