book4

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MARTYN KRÜGEL’S BASS MANUAL

Book 4: Melodic 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

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

Pg. 5

Chapter 1

THE KEY OF A MINOR

Pg. 14

Chapter 2

THE KEY OF E MINOR

Pg. 23

Chapter 3

THE KEY OF B MINOR

Pg. 32

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. 113

Chapter 13

THE KEY OF Bb MINOR

Pg. 122

Chapter 14

THE KEY OF Eb MINOR

Pg. 131

Chapter 15

THE KEY OF Ab MINOR

Pg. 140

Pg. 41

The Notes Pg. 50

The Bass Fingerboard Pg. 59

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

Pg. 68

Pg. 77

Pg. 86

Pg. 95

Further Harmonization of the Scale Tone Chords

Pg. 104

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INTRODUCTION Melodic 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. Then in book 2 of this series we 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 th key signature. In book 3 we looked at how the harmonic minor keys are formed by raising or sharpening the 7 degree of the natural minor scale. So a very brief overview by using a practical example – will look like this: 

The notes of the D major scale are: D E F# G A B C# and will form the key of D major. {Book 1 – Chapter 3}



th

th

The 6 degree of the D major scale is the note B and by starting on the 6 degree (new Key Tonality) and playing the exact same notes of the D major scale we will produce the B natural minor scale: B C# D E F# G A and this will form the key of B minor (natural) which is also the relative minor key of D major. {Book 2 – Chapter 3}



th

And by raising the 7 degree of the B natural minor scale – A to A# – we will produce the B harmonic minor scale: B C# D E F# G A# and this will form the key of B harmonic minor. {Book 3 – Chapter 3}

Now in book 4 we will look at the melodic minor keys and we will again use the same methodology that we used in the previous three books, and again will the practical application be very plain to see because of our understanding of the major keys in book 1, the natural minor keys in book 2 and the harmonic minor keys in book 3. th

We now know that the harmonic minor scale is a natural minor scale with a raised (sharpened) 7 degree as th shown in book 3 and the melodic minor scale is similar to the harmonic minor scale but the 6 degree will now also be raised (sharpened) to form the melodic minor scale. Or we can just say that the melodic minor scale is th th th th a natural minor scale with a raised 6 and a raised 7 degree. In other words the 6 and 7 note of the natural minor scale is sharpened to form the melodic minor scale. For example: The notes of the A – NATURAL MINOR SCALE are A B C D E F G. The 6 degree or note h in that scale is the note F – the 7 degree or note in that scale is the note G. Hence, the notes of the A – MELODIC MINOR SCALE will be A B C D E F# G#. th

A brief overview of what we’ve covered so far (in book 1,2,3 and now 4) and by using a practical example will now look like this: 

The notes of the E major scale are: E F# G# A B C# D# and will form the key of E major. {Book 1 – Chapter 5}



th

th

The 6 degree of the E major scale is the note C# and by starting on the 6 degree (new Key Tonality) and playing the exact same notes of the E major scale we will produce the C# natural minor scale: C# D# E F# G# A B and this will form the key of C# minor (natural) which is also the relative minor key of E major. {Book 2 – Chapter 5}

Page |6 

th

And by raising the 7 degree of the C# natural minor scale – B to B# – we will produce the C# harmonic minor scale: C# D# E F# G# A B# and this will form the key of C# harmonic minor. {Book 3 – Chapter 5}



th

th

And then by additionally raising the 6 degree (with the already raised 7 degree) of the C# harmonic minor scale – A to A# – we will produce the C# melodic minor scale: C# D# E F# G# A# B# and this will form the key of C# melodic minor. {Book 4 – Chapter 5}

Below is a table outlining the chapters of book 1 and book 2 (relative major and minor keys) the harmonic minor keys of book 3 and now the melodic minor keys of book 4:

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

Book 4: Melodic Minor Keys A Melodic E Melodic B Melodic F# Melodic C# Melodic G# Melodic D# Melodic A# Melodic D Melodic G Melodic C Melodic F Melodic Bb Melodic Eb Melodic Ab Melodic

The Melodic Minor Scale Patterns In this book 4 of the series we will now see how the melodic minor keys are applied on the bass. Since we will be using the same methodology that we used in books 1, 2 and book 3 we will now have melodic minor scale patterns that will cover the bass fingerboard utilizing the exact same principal that we used in the previous three books but applying it now in the formation of the new melodic 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, the natural minor keys and the harmonic 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 three books.

Page |7 [The numerical value indicates the sequential order of the pattern and also represents the numerical value of the melodic minor scale. The diagrams here and throughout the series illustrate your viewpoint when you’re holding the bass].

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

Pattern to the Left



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

Single String Pattern



Now, when we take these melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns remain exactly the same in form (the PATTERN that you visualize and memorize) when applied to any other melodic minor key. To play in any other melodic 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 B note and imitating the above melodic minor scale patterns would produce the B MELODIC MINOR SCALE that then again produces the KEY OF B MELODIC MINOR when all the patterns starting on the note B are linked. Starting on the F# note and imitating the above patterns would produce the F# MELODIC MINOR SCALE that then again produces the KEY OF F# MELODIC MINOR when all the patterns starting on the note F# are linked and so forth.



This means that when you’ve memorized these few set melodic 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 melodic minor key ALL over the bass fingerboard.



Each and every ‘ROADMAP OF THE MELODIC MINOR SCALE OR KEY’ produced by linking the melodic minor scale patterns, remains the same in visual form to any other individual melodic 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 |8 instrument. The subsequent notes calculated in a melodic minor scale sequence from any given starting point will bring about that starting point’s melodic minor key. The starting point for example in the key of A MELODIC 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, the natural minor keys and the harmonic 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 three 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 in book 3 we learned that the harmonic minor scale is just a natural minor scale th with a raised (sharpened) 7 degree that forms the harmonic minor key. And now we see that by raising th the 6 degree of the harmonic minor scale how the melodic minor scale is formed to produce the melodic minor key. [In practice you can look at the melodic minor scale as a major scale with a minor third interval or flattened third degree instead of a major third. Always observe and analyze the information and put it into a context that you can practically apply on your bass].

Comments on Fingerings and Technique What I will do now is play the first three melodic 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 |9 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

P a g e | 10 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

nd

th

th

th

P a g e | 11 th

11 Degree

th

12 Degree

th

7 Degree

rd

2

8 Degree

3 Degree

th

nd

th

th

11 Degree

th

10 Degree

th

9 Degree

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

1 Degree

5 Degree

7 Degree

nd

rd

4 Degree

th

th

8 Degree

th

4 Degree

th

th

P a g e | 12 rd

3 Degree

2

nd

Degree

st

1 Degree

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 melodic 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 series of books, 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 melodic minor key. The student is advised to compare the chapters with one another to see and find the characteristics of the melodic minor keys.

P a g e | 13 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.

P a g e | 14

Chapter 1 THE KEY OF A MINOR (Melodic) The Notes The key of A MINOR (Melodic) is derived from the A MELODIC MINOR SCALE. The notes of the A MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of A MELODIC MINOR the first note or root note of each pattern will be the note A and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of A MELODIC MINOR that covers the whole extent of the fingerboard.

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

Pattern to the Left



P a g e | 15


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

Major sixth interval

Major seventh interval

Octave

P a g e | 16

II B B

B

B

B

B

B

B

⇩ C

⇩ D

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B

Minor second interval (b2/b9)





Minor seventh interval (b7)

Octave

C

C

C

C

C

C

C

⇩ D

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C


Major third interval

Augmented fourth interval (#4/#11)

Augmented fifth interval (#5)



D

D

D

D

D

D

D

⇩ E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C

⇩ D







III C

Octave

IV D

Octave

P a g e | 17

V E E

E

E

E

E

E

E

⇩ F#

⇩ G#

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E





Minor sixth interval (b6/b13)


Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G#

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F#




Diminished fifth interval (b5)



Octave

G#

G#

G#

G#

G#

G#

G#

⇩ A

⇩ B

⇩ C

⇩ D

⇩ E

⇩ F#

⇩ G#



Diminished fourth interval (b4/b11)




Octave

VI F#

VII G#

P a g e | 18

Harmony: The Scale Tone Chords (triads)

1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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 Minor

1st

B

3rd

D (b3)

5th

F#

P a g e | 19

III

C Augmented

1st

C

3rd

E

5th

G#(#5)

P a g e | 20

IV

D Major

1st

D

3rd

F#

5th

A

V

E Major

1st

E

3rd

G#

5th

B

P a g e | 21

VI

F# Diminished

1st

F#

3rd

A (b3)

5th

C (b5)

P a g e | 22

VII

1st

G# Diminished

G#

3rd

B (b3)

5th

D (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

A Minor/Major Seventh

B Minor Seventh

C Major Seventh sharp Five

D7 (Seventh)

E7 (Seventh)

F# Minor Seven flat Five

G# Minor Seven flat Five

A C E G#

B D F# A

C E G# B

D F# A C

E G# B D

F# A C E

G# B D F#

P a g e | 23

Chapter 2 THE KEY OF E MINOR (Melodic) The Notes The key of E MINOR (Melodic) is derived from the E MELODIC MINOR SCALE. The notes of the E MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of E MELODIC MINOR the first note or root note of each pattern will be the note E and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of E MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 24


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 | 25

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 | 26

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 | 27


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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# Minor

1st

F#

3rd

A (b3)

5th

C#

P a g e | 28

III

G Augmented

1st

G

3rd

B

5th

D#(#5)

P a g e | 29

IV

A Major

1st

A

3rd

C#

5th

E

V

B Major

1st

B

3rd

D#

5th

F#

P a g e | 30

VI

C# Diminished

1st

C#

3rd

E (b3)

5th

G (b5)

P a g e | 31

VII

1st

D# Diminished

D#

3rd

F# (b3)

5th

A (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

E Minor/Major Seventh

F# Minor Seventh

G Major Seventh sharp Five

A7 (Seventh)

B7 (Seventh)

C# Minor Seven flat Five

D# Minor Seven flat Five

E G B D#

F# A C# E

G B D# F#

A C# E G

B D# F# A

C# E G B

D# F# A C#

P a g e | 32

Chapter 3 THE KEY OF B MINOR (Melodic) The Notes The key of B MINOR (Melodic) is derived from the B MELODIC MINOR SCALE. The notes of the B MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of B MELODIC MINOR the first note or root note of each pattern will be the note B and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of B MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 33


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 | 34

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 | 35

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 | 36


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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# Minor

1st

C#

3rd

E (b3)

5th

G#

P a g e | 37

III

D Augmented

1st

D

3rd

F#

5th

A#(#5)

P a g e | 38

IV

E Major

1st

E

3rd

G#

5th

B

V

F# Major

1st

F#

3rd

A#

5th

C#

P a g e | 39

VI

G# Diminished

1st

G#

3rd

B (b3)

5th

D (b5)

P a g e | 40

VII

1st

A# Diminished

A#

3rd

C# (b3)

5th

E (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

B Minor/Major Seventh

C# Minor Seventh

D Major Seventh sharp Five

E7 (Seventh)

F#7 (Seventh)

G# Minor Seven flat Five

A# Minor Seven flat Five

B D F# A#

C# E G# B

D F# A# C#

E G# B D

F# A# C# E

G# B D F#

A# C# E G#

P a g e | 41

Chapter 4 THE KEY OF F# MINOR (Melodic) The Notes The key of F# MINOR (Melodic) is derived from the F# MELODIC MINOR SCALE. The notes of the F# MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of F# MELODIC MINOR the first note or root note of each pattern will be the note F# and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of F# MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 42


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 | 43

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 | 44

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 | 45


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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# Minor

1st

G#

3rd

B (b3)

5th

D#

P a g e | 46

III

A Augmented

1st

A

3rd

C#

5th

E#(#5)

P a g e | 47

IV

B Major

1st

B

3rd

D#

5th

F#

V

C# Major

1st

C#

3rd

E#

5th

G#

P a g e | 48

VI

D# Diminished

1st

D#

3rd

F# (b3)

5th

A (b5)

P a g e | 49

VII

1st

E# Diminished

E#

3rd

G# (b3)

5th

B (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

F# Minor/Major Seventh

G# Minor Seventh

A Major Seventh sharp Five

B7 (Seventh)

C#7 (Seventh)

D# Minor Seven flat Five

E# Minor Seven flat Five

F# A C# E#

G# B D# F#

A C# E# G#

B D# F# A

C# E# G# B

D# F# A C#

E# G# B D#

P a g e | 50

Chapter 5 THE KEY OF C# MINOR (Melodic) The Notes The key of C# MINOR (Melodic) is derived from the C# MELODIC MINOR SCALE. The notes of the C# MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of C# MELODIC MINOR the first note or root note of each pattern will be the note C# and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of C# MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 51


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 | 52

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 | 53

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 | 54


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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# Minor

1st

D#

3rd

F# (b3)

5th

A#

P a g e | 55

III

E Augmented

1st

E

3rd

G#

5th

B#(#5)

P a g e | 56

IV

F# Major

1st

F#

3rd

A#

5th

C#

V

G# Major

1st

G#

3rd

B#

5th

D#

P a g e | 57

VI

A# Diminished

1st

A#

3rd

C# (b3)

5th

E (b5)

P a g e | 58

VII

1st

B# Diminished

B#

3rd

D# (b3)

5th

F# (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

C# Minor/Major Seventh

D# Minor Seventh

E Major Seventh sharp Five

F#7 (Seventh)

G#7 (Seventh)

A# Minor Seven flat Five

B# Minor Seven flat Five

C# E G# B#

D# F# A# C#

E G# B# D#

F# A# C# E

G# B# D# F#

A# C# E G#

B# D# F# A#

P a g e | 59

Chapter 6 THE KEY OF G# MINOR (Melodic) The Notes The key of G# MINOR (Melodic) is derived from the G# MELODIC MINOR SCALE. The notes of the G# MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of G# MELODIC MINOR the first note or root note of each pattern will be the note G# and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of G# MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 60


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 | 61

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 | 62

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 | 63


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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# Minor

1st

A#

3rd

C# (b3)

5th

E#

P a g e | 64

III

B Augmented

1st

B

3rd

D#

5th

F##(#5)

P a g e | 65

IV

C# Major

1st

C#

3rd

E#

5th

G#

V

D# Major

1st

D#

3rd

F##

5th

A#

P a g e | 66

VI

E# Diminished

1st

E#

3rd

G# (b3)

5th

B (b5)

P a g e | 67

VII

1st

F## Diminished

F##

3rd

A# (b3)

5th

C# (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

G# Minor/Major Seventh

A# Minor Seventh

B Major Seventh sharp Five

C#7 (Seventh)

D#7 (Seventh)

E# Minor Seven flat Five

F## Minor Seven flat Five

G# B D# F##

A# C# E# G#

B D# F## A#

C# E# G# B

D# F## A# C#

E# G# B D#

F## A# C# E#

P a g e | 68

Chapter 7 THE KEY OF D# MINOR (Melodic) The Notes The key of D# MINOR (Melodic) is derived from the D# MELODIC MINOR SCALE. The notes of the D# MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of D# MELODIC MINOR the first note or root note of each pattern will be the note D# and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of D# MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 69


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 | 70

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 | 71

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 | 72


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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# Minor

1st

E#

3rd

G# (b3)

5th

B#

P a g e | 73

III

F# Augmented

1st

F#

3rd

A#

5th

C##(#5)

P a g e | 74

IV

G# Major

1st

G#

3rd

B#

5th

D#

V

A# Major

1st

A#

3rd

C##

5th

E#

P a g e | 75

VI

B# Diminished

1st

B#

3rd

D# (b3)

5th

F# (b5)

P a g e | 76

VII

1st

C## Diminished

C##

3rd

E# (b3)

5th

G# (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

D# Minor/Major Seventh

E# Minor Seventh

F# Major Seventh sharp Five

G#7 Seventh

A#7 Seventh

B# Minor Seven flat Five

C## Minor Seven flat Five

D# F# A# C##

E# G# B# D#

F# A# C## E#

G# B# D# F#

A# C## E# G#

B# D# F# A#

C## E# G# B#

P a g e | 77

Chapter 8 THE KEY OF A# MINOR (Melodic) The Notes The key of A# MINOR (Melodic) is derived from the A# MELODIC MINOR SCALE. The notes of the A# MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of A# MELODIC MINOR the first note or root note of each pattern will be the note A# and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of A# MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 78


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 | 79

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 | 80

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 | 81


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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# Minor

1st

B#

3rd

D# (b3)

5th

F##

P a g e | 82

III

C# Augmented

1st

C#

3rd

E#

5th

G##(#5)

P a g e | 83

IV

D# Major

1st

D#

3rd

F##

5th

A#

V

E# Major

1st

E#

3rd

G##

5th

B#

P a g e | 84

VI

F## Diminished

1st

F##

3rd

A# (b3)

5th

C# (b5)

P a g e | 85

VII

1st

G## Diminished

G##

3rd

B# (b3)

5th

D# (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

A# Minor/Major Seventh

B# Minor Seventh

C# Major Seventh sharp Five

D#7 (Seventh)

E#7 (Seventh)

F## Minor Seven flat Five

G## Minor Seven flat Five

A# C# E# G##

B# D# F## A#

C# E# G## B#

D# F## A# C#

E# G## B# D#

F## A# C# E#

G## B# D# F##

P a g e | 86

Chapter 9 THE KEY OF D MINOR (Melodic) The Notes The key of D MINOR (Melodic) is derived from the D MELODIC MINOR SCALE. The notes of the D MELODIC 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

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of D MELODIC MINOR the first note or root note of each pattern will be the note D and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of D MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 87


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 | 88

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 | 89

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 | 90


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished 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 Minor

1st

E

3rd

G (b3)

5th

B

P a g e | 91

III

F Augmented

1st

F

3rd

A

5th

C#(#5)

P a g e | 92

IV

G Major

1st

G

3rd

B

5th

D

V

A Major

1st

A

3rd

C#

5th

E

P a g e | 93

VI

B Diminished

1st

B

3rd

D (b3)

5th

F (b5)

P a g e | 94

VII

1st

C# Diminished

C#

3rd

5th

E (b3)

G (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

D Minor/Major Seventh

E Minor Seventh

F Major Seventh sharp Five

G7 (Seventh)

A7 (Seventh)

B Minor Seven flat Five

C# Minor Seven flat Five

D F A C#

E G B D

F A C# E

G B D F

A C# E G

B D F A

C# E G B

P a g e | 95

Chapter 10 THE KEY OF G MINOR (Melodic) The Notes The key of G MINOR (Melodic) is derived from the G MELODIC MINOR SCALE. The notes of the G MELODIC 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 E

VII F#

1/8

2/9

b3/b10

4/11

5/12

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of G MELODIC MINOR the first note or root note of each pattern will be the note G and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of G MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 96


Pattern to the Left





Intervals

I G G

G

G

G

G

G

G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F#

⇩ G







Octave

P a g e | 97

II 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







C

C

C

C

C

C

C

⇩ D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ Bb

⇩ C







III Bb

Octave

IV C

Octave

P a g e | 98

V D D

D

D

D

D

D

D

⇩ E

⇩ F#

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D







Octave

E

E

E

E

E

E

E

⇩ F#

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ E







Octave

F#

F#

F#

F#

F#

F#

F#

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F#







Octave

VI E

VII F#

P a g e | 99


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished chord

Diminished chord

G Bb D

A C E

Bb D F#

C E G

D F# A

E G Bb

F# A C

I

G Minor

1st

G

3rd

Bb (b3)

5th

D

II

A Minor

1st

A

3rd

C (b3)

5th

E

P a g e | 100

III

Bb Augmented

1st

Bb

3rd

D

5th

F#(#5)

P a g e | 101

IV

C Major

1st

C

3rd

E

5th

G

V

D Major

1st

D

3rd

F#

5th

A

P a g e | 102

VI

E Diminished

1st

E

3rd

G (b3)

5th

Bb (b5)

P a g e | 103

VII

1st

F# Diminished

F#

3rd

A (b3)

5th

C (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

G Minor/Major Seventh

A Minor Seventh

Bb Major Seventh sharp Five

C7 (Seventh)

D7 (Seventh)

E Minor Seven flat Five

F# Minor Seven flat Five

G Bb 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

P a g e | 104

Chapter 11 THE KEY OF C MINOR (Melodic) The Notes The key of C MINOR (Melodic) is derived from the C MELODIC MINOR SCALE. The notes of the C MELODIC 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 A

VII B

1/8

2/9

b3/b10

4/11

5/12

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of C MELODIC MINOR the first note or root note of each pattern will be the note C and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of C MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 105


Pattern to the Left





Intervals

I C C

C

C

C

C

C

C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ B

⇩ C







Octave

P a g e | 106

II D D

D

D

D

D

D

D

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D







Octave

Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ Eb







F

F

F

F

F

F

F

⇩ G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ Eb

⇩ F







III Eb

Octave

IV F

Octave

P a g e | 107

V G G

G

G

G

G

G

G

⇩ A

⇩ B

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G







Octave

A

A

A

A

A

A

A

⇩ B

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ A







Octave

B

B

B

B

B

B

B

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ B







Octave

VI A

VII B

P a g e | 108


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished chord

Diminished chord

C Eb G

D F A

Eb G B

F A C

G B D

A C Eb

B D F

I

C Minor

1st

C

3rd

Eb (b3)

5th

G

II

D Minor

1st

D

3rd

F (b3)

5th

A

P a g e | 109

III

Eb Augmented

1st

Eb

3rd

G

5th

B (#5)

P a g e | 110

IV

F Major

1st

F

3rd

A

5th

C

V

G Major

1st

G

3rd

B

5th

D

P a g e | 111

VI

A Diminished

1st

A

3rd

C (b3)

5th

Eb (b5)

P a g e | 112

VII

1st

B Diminished

B

3rd

D (b3)

5th

F (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

C Minor/Major Seventh

D Minor Seventh

Eb Major Seventh sharp Five

F7 (Seventh)

G7 (Seventh)

A Minor Seven flat Five

B Minor Seven flat Five

C Eb G B

D F A C

Eb G B D

F A C Eb

G B D F

A C Eb G

B D F A

P a g e | 113

Chapter 12 THE KEY OF F MINOR (Melodic) The Notes The key of F MINOR (Melodic) is derived from the F MELODIC MINOR SCALE. The notes of the F MELODIC 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 D

VII E

1/8

2/9

b3/b10

4/11

5/12

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of F MELODIC MINOR the first note or root note of each pattern will be the note F and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of F MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 114


Pattern to the Left





Intervals

I F F

F

F

F

F

F

F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F







Octave

P a g e | 115

II G G

G

G

G

G

G

G

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G







Octave

Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ Ab







Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ Ab

⇩ Bb







III Ab

Octave

IV Bb

Octave

P a g e | 116

V C C

C

C

C

C

C

C

⇩ D

⇩ E

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C







Octave

D

D

D

D

D

D

D

⇩ E

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ D







Octave

E

E

E

E

E

E

E

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ E







Octave

VI D

VII E

P a g e | 117


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished chord

Diminished chord

F Ab C

G Bb D

Ab C E

Bb D F

C E G

D F Ab

E G Bb

I

F Minor

1st

F

3rd

Ab (b3)

5th

C

II

G Minor

1st

G

3rd

Bb (b3)

5th

D

P a g e | 118

III

Ab Augmented

1st

Ab

3rd

C

5th

E (#5)

P a g e | 119

IV

Bb Major

1st

Bb

3rd

D

5th

F

V

C Major

1st

C

3rd

E

5th

G

P a g e | 120

VI

D Diminished

1st

D

3rd

F (b3)

5th

Ab (b5)

P a g e | 121

VII

1st

E Diminished

E

3rd

G (b3)

5th

Bb (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

F Minor/Major Seventh

G Minor Seventh

Ab Major Seventh sharp Five

Bb7 (Seventh)

C7 (Seventh)

D Minor Seven flat Five

E Minor Seven flat Five

F Ab C E

G Bb D F

Ab C E G

Bb D F Ab

C E G Bb

D F Ab C

E G Bb D

P a g e | 122

Chapter 13 THE KEY OF Bb MINOR (Melodic) The Notes The key of Bb MINOR (Melodic) is derived from the Bb MELODIC MINOR SCALE. The notes of the Bb MELODIC 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 G

VII A

1/8

2/9

b3/b10

4/11

5/12

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of Bb MELODIC MINOR the first note or root note of each pattern will be the note Bb and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of Bb MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 123


Pattern to the Left





Intervals

I Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ Bb







Octave

P a g e | 124

II C C

C

C

C

C

C

C

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C







Octave

Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ Db







Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb







III Db

Octave

IV Eb

Octave

P a g e | 125

V F F

F

F

F

F

F

F

⇩ G

⇩ A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F







Octave

G

G

G

G

G

G

G

⇩ A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ G







Octave

A

A

A

A

A

A

A

⇩ Bb

⇩ C

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ A







Octave

VI G

VII A

P a g e | 126


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished chord

Diminished chord

Bb Db F

C Eb G

Db F A

Eb G Bb

F A C

G Bb Db

A C Eb

I

Bb Minor

1st

Bb

3rd

Db (b3)

5th

F

II

C Minor

1st

C

3rd

Eb (b3)

5th

G

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III

Db Augmented

1st

Db

3rd

F

5th

A (#5)

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IV

Eb Major

1st

Eb

3rd

G

5th

Bb

V

F Major

1st

F

3rd

A

5th

C

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VI

G Diminished

1st

G

3rd

Bb (b3)

5th

Db (b5)

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VII

1st

A Diminished

A

3rd

C (b3)

5th

Eb (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

Bb Minor/Major Seventh

C Minor Seventh

Db Major Seventh sharp Five

Eb7 (Seventh)

F7 (Seventh)

G Minor Seven flat Five

A Minor Seven flat Five

Bb Db F A

C Eb G Bb

Db F A C

Eb G Bb Db

F A C Eb

G Bb Db F

A C Eb G

P a g e | 131

Chapter 14 THE KEY OF Eb MINOR (Melodic) The Notes The key of Eb MINOR (Melodic) is derived from the Eb MELODIC MINOR SCALE. The notes of the Eb MELODIC 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 C

VII D

1/8

2/9

b3/b10

4/11

5/12

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of Eb MELODIC MINOR the first note or root note of each pattern will be the note Eb and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of Eb MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



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Pattern to the Left





Intervals

I Eb Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb







Octave

P a g e | 133

II F F

F

F

F

F

F

F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F







Octave

Gb

Gb

Gb

Gb

Gb

Gb

Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ Gb







Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab







III Gb

Octave

IV Ab

Octave

P a g e | 134

V Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ C

⇩ D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb







Octave

C

C

C

C

C

C

C

⇩ D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C







Octave

D

D

D

D

D

D

D

⇩ Eb

⇩ F

⇩ Gb

⇩ Ab

⇩ Bb

⇩ C

⇩ D







Octave

VI C

VII D

P a g e | 135


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished chord

Diminished chord

Eb Gb Bb

F Ab C

Gb Bb D

Ab C Eb

Bb D F

C Eb Gb

D F Ab

I

Eb Minor

1st

Eb

3rd

Gb (b3)

5th

Bb

II

F Minor

1st

F

3rd

Ab (b3)

5th

C

P a g e | 136

III

Gb Augmented

1st

Gb

3rd

Bb

5th

D (#5)

P a g e | 137

IV

Ab Major

1st

Ab

3rd

C

5th

Eb

V

Bb Major

1st

Bb

3rd

D

5th

F

P a g e | 138

VI

C Diminished

1st

C

3rd

Eb (b3)

5th

Gb (b5)

P a g e | 139

VII

1st

D Diminished

D

3rd

F (b3)

5th

Ab (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

Eb Minor/Major Seventh

F Minor Seventh

Gb Major Seventh sharp Five

Ab7 (Seventh)

Bb7 (Seventh)

C Minor Seven flat Five

D Minor Seven flat Five

Eb Gb Bb D

F Ab C Eb

Gb Bb D F

Ab C Eb Gb

Bb D F Ab

C Eb Gb Bb

D F Ab C

P a g e | 140

Chapter 15 THE KEY OF Ab MINOR (Melodic) The Notes The key of Ab MINOR (Melodic) is derived from the Ab MELODIC MINOR SCALE. The notes of the Ab MELODIC 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 F

VII G

1/8

2/9

b3/b10

4/11

5/12

6/13

7

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

Bass Clef

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

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of Ab MELODIC MINOR the first note or root note of each pattern will be the note Ab and when we link these melodic minor scale patterns, we’ll get the above ‘picture’ of the key of Ab MELODIC MINOR that covers the whole extent of the fingerboard.


Pattern to the Left



P a g e | 141


Pattern to the Left





Intervals

I Ab Ab

Ab

Ab

Ab

Ab

Ab

Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab







Octave

P a g e | 142

II Bb Bb

Bb

Bb

Bb

Bb

Bb

Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb







Octave

Cb

Cb

Cb

Cb

Cb

Cb

Cb

⇩ Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb







Db

Db

Db

Db

Db

Db

Db

⇩ Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db







III Cb

Octave

IV Db

Octave

P a g e | 143

V Eb Eb

Eb

Eb

Eb

Eb

Eb

Eb

⇩ F

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb







Octave

F

F

F

F

F

F

F

⇩ G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F







Octave

G

G

G

G

G

G

G

⇩ Ab

⇩ Bb

⇩ Cb

⇩ Db

⇩ Eb

⇩ F

⇩ G







Octave

VI F

VII G

P a g e | 144


1st 3rd 5th

I

II

III

IV

V

VI

VII

Minor chord

Minor chord

Augmented chord

Major chord

Major chord

Diminished chord

Diminished chord

Ab Cb Eb

Bb Db F

Cb Eb G

Db F Ab

Eb G Bb

F Ab Cb

G Bb Db

I

Ab Minor

1st

Ab

3rd

Cb (b3)

5th

Eb

II

Bb Minor

1st

Bb

3rd

Db (b3)

5th

F

P a g e | 145

III

Cb Augmented

1st

Cb

3rd

Eb

5th

G (#5)

P a g e | 146

IV

Db Major

1st

Db

3rd

F

5th

Ab

V

Eb Major

1st

Eb

3rd

G

5th

Bb

P a g e | 147

VI

F Diminished

1st

F

3rd

Ab (b3)

5th

Cb (b5)

P a g e | 148

VII

1st

G Diminished

G

3rd

Bb (b3)

5th

Db (b5)

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

I 1st 3rd 5th 7th

II

III

IV

V

VI

VII

Ab Minor/Major Seventh

Bb Minor Seventh

Cb Major Seventh sharp Five

Db7 (Seventh)

Eb7 (Seventh)

F Minor Seven flat Five

G Minor Seven flat Five

Ab Cb Eb G

Bb Db F Ab

Cb Eb G Bb

Db F Ab Cb

Eb G Bb Db

F Ab Cb Eb

G Bb Db F

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