1) What musical interval is used to create the chromatic scale? .
2) The chromatic scale contains all of the letter names in the equal temperament system? Yes / No
3) To sound the ascending chromatic scale on the piano we simply push each next key in succession regardless of it's color. Yes / No
4) Fill in the blanks of the following chart to spell out the major pentatonic color from the root pitch C.
| interval formula | root | whole step | minor 3rd | min 3rd | ||
| pitches | C | E | A | C |
5) The black keys on the piano create the F# / Gb major pentatonic scale. Yes / No
If yes, what is the minor pentatonic scale created from these same black keys? .
6) Fill in the letter names spelling out the 12 major pentatonic scales available to the creative musician.
| scale degree / interval | 1 | 2 | 3 | 5 | 6 | 8 |
| C pent major | C | D | E | G | A | C |
| pent major | F | G | C | F | ||
| pent major | Bb | D | Bb | |||
| Eb pent major | F | Bb | Eb | |||
| pent major | Ab | C | F | |||
| Db pent major | Ab | Db | ||||
| pent major | Gb | Bb | Eb | |||
| pent major | B | C# | ||||
| pent major | E | G# | C# | |||
| A pent major | B | E | A | |||
| D pent major | F# | D | ||||
| pent major | G | A | D |
7) This major pentatonic color is a favorite group of pitches for the folk, blues, rock and jazz players? Yes / No
8) Fill in the blanks of the following chart working with the minor pentatonic color from the root pitch A.
| interval formula | root | minor 3rd | whole step | whole step | minor 3rd | whole step |
| pitches | A | D | G |
9) Please fill in the letter names spelling out the 12 minor pentatonic scale, so essential to blues, jazz and of course the rockers globally.
| scale degree / interval | 1/root | 3/minor 3rd | 4/ perfect 4th | 5/ perfect 5th | 7/minor 7th | 8/octave |
| A min pent. | A | C | D | E | G | |
| D min pent. | G | A | D | |||
| G min pent. | Bb | D | F | |||
| C min pent. | Eb | F | Bb | C | ||
| F min pent. | F | Ab | Bb | C | ||
| Bb min pent. | Bb | Eb | F | Ab | ||
| Eb min pent. | Gb | Bb | Db | Eb | ||
| Ab min pent. | Db | Gb | Ab | |||
| C# min pent. | E | F# | G# | C# | ||
| F# min pent. | F# | B | C# | E | ||
| B min pent. | D | F# | B | |||
| E min pent. | G | A | D | E |
10) The minor pentatonic color is at the heart of the American blues and rock sounds. Yes / No
11) What cool American scale do we create when we slip a octave splitting tritone into the minor pentatonic color? .
12) Is there an important American style named after this group of pitches? Yes / No
13) Does the name of this style start with the letter B? Yes / No
14) The name of this important style? ( Hint, the name is one of our 3 primary colors ).
the .
15) Fill in the blanks of the following chart comparing the pitches of the minor pentatonic colors with the blues scale.
| scale degree | root / 1 | b3 | 4 | #4 | 5 | b7 | 8 / octave |
| interval | minor 3rd | whole step | half step | half step | minor 3rd | whole step | |
| C minor pentatonic scale | C | F | G | ||||
| C blues scale | Eb | F# | Bb | C |
16) Please fill in the blank spaces in the following chart spelling out the blues scale from each of the 12 pitches of the chromatic scale.
| scale degree / interval | root | 3rd / minor 3rd | 4th / perfect 4th | tritone #4 / b5 | 5th / perfect 5th | b7 / minor 7th | octave |
| C blues | C | F | F# / Gb | G | C | ||
| Db blues | Gb | G | Cb | Db | |||
| D blues | D | Ab | A | ||||
| Eb blues | Eb | Ab | Db | ||||
| E blues | G | A# | B | E | |||
| F blues | F | Bb | C | Eb | |||
| Gb blues | Gb | Bb | C | Db | |||
| G blues | G | C | F | ||||
| Ab blues | Cb | Db | Gb | Ab | |||
| A blues | A | C | Eb | A | |||
| Bb blues | Bb | Eb | F | Ab | |||
| B blues | D | E | F | F# | A | B |
17) The blues grouping of pitches is at the core of the blues, jazz and rock styles. Yes / No
18) What is the whole step / half step intervalic formula for the major scale?
19) Please fill in the letters for each of the 12 major scale groups.
| key | root | whole step | whole step | 1/2 step | whole step | whole step | whole step | 1/2 step |
| C major | C | |||||||
| G major | A | |||||||
| D major | F# | |||||||
| A major | D | |||||||
| E major | B | |||||||
| B major | G# | |||||||
| Gb maj | F | |||||||
| Db maj | Db | |||||||
| Ab maj | G | |||||||
| Eb maj | C | |||||||
| Bb maj | F | |||||||
| F major | Bb |
20) The major scale grouping of pitches has created the majority of the popular American melodies for the last 100 years or so. Yes / No
21) Another way to identify the major scale is as the Ionian mode.
Yes / No
22) Modes. Here is a chart to exercise the mechanism discussed within the text to locate a particular mode from a particular pitch using the major scale grouping of pitches as the parent scale. Basically a "fill in the blanks" type exercise, the first few are completed correctly as an example for the rest of the exercise.
| mode | scale degree / numeral | parent scale | pitches | color |
| Ionian | One ( I ) | C major | C,D,E,F,G,A,B,C | major |
| Dorian | Two ( ii ) | C major | D,E,F,G,A,B,C,D | minor |
| Phrygian | Three ( iii ) | C major | E,F,G,A,B,C,D,E | minor |
| Four ( IV ) | major | |||
| Mixolydian | C major | G,A,B,C,D,E,F,G | ||
| Aeolian | A,B,C,D,E,F,G,A | |||
| Locrian | Seven ( vii ) | C major | B,C,D,E,F,G,A,B | minor |
| Phrygian | Ab major | minor | ||
| Lydian | Four ( IV ) | C,D,E,F#,G,A,B,C | ||
| Five ( V ) | F major | major |
| Aeolian | Six ( vi ) | C,D,Eb,F,G,Ab,Bb,C | ||
| Db major | C,Db,Eb,F,Gb,Ab,Bb,C | minor | ||
| Ionian | One ( I ) | Bb,C,D,Eb,F,G,A,Bb | ||
| Dorian | Gb major | minor | ||
| Phrygian | F#,G,A,B,C#,D,E,F# | |||
| Four ( IV ) | B major | major | ||
| Mixolydian | Five ( V ) | D,E,F#,G,A,B,C,D | ||
| Aeolian | E major | minor | ||
| Locrian | C#,D,E,F#,G,A,B,C# | |||
| One ( I ) | Eb major |
| Dorian | F,G,Ab,Bb,C,D,Eb,F | |||
| Three ( iii ) | Bb major | minor | ||
| Lydian | Four ( IV ) | A,B,C#,D#,E,F#,G#,A | ||
| Eb major | Bb,C,D,Eb,F,G,Ab,Bb | major | ||
| Aeolian | D,E,F,G,A,Bb,C,D | |||
| Seven ( vii ) | A major | Db,Eb,F,Gb,Ab,Bb,C,Db | minor | |
| Ionian | D major | |||
| Two ( ii ) | Ab major | |||
| Phrygian | F,Gb,Ab,Bb,C,Db,Eb,F | |||
| Lydian | C# major | major |
| Mixolydian | F major | |||
| B major | C#,D#,E,F#,G#,A#,B,C# | minor | ||
| Locrian | Seven ( vii ) | A,Bb,C,D,Eb,F,G,A | ||
| One ( I ) | Bb major | major | ||
| Dorian | Two ( ii ) | B,C#,D,E,F#,G#,A,B |
23) We can view modal theory based on the intervalic structure of each of the 7 church modes. Yes / No
24) That the location of the 2 half steps within each of the modes is often a way into the emotional character and essence of each of the modal groupings. Yes / No / Maybe
25) The relative major / minor key relationship is based on the fact they contain exactly the same group of pitches. Yes / No
26) Fill in the blanks in the following chart comparing the major and natural minor pitches.
| intervals | root | 1 | 1 | 1 / 2 | 1 | 1 | 1 | 1 / 2 |
| C major | D | E | G | C | ||||
| intervals | 1 | 1 / 2 | 1 | 1 | 1 / 2 | 1 | 1 | |
| A natural minor | A | B | D | F | A |
27) Please fill in the blanks within the following chart pairing up the 12 major and natural minor keys including their # of accidentals.
| relative major | relative minor | relative major | relative minor |
| C | A | / | Eb / 6 b's |
| G / 1 # | / | Db / 5 b's | / |
| / | B / 2 #'s | / | F / 4 b's |
| A / 3 #'s | / | Eb / 3 b's | / |
| / | C# / 4 #'s | / | G / 2 b's |
| B / 5 #'s | / | F / 1 b | / |
28) After filling in the missing elements in the above chart, is the key scheme based on the cycle of fifths when reading top left to bottom right? Yes / No
29) Please fill in the blanks in the following chart pairing up our 12 natural minor and 12 major scales.
| natural minor scale / 12 keys | major scale / 12 keys | ||||||||||||||||
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30) By lowering only the major 3rd of the major scale group by half step we create the melodic minor group of pitches. Yes / No
31) By raising the just 7th degree of the natural minor scale by half step to the leading tone we create the harmonic minor scale. Yes / No
32) The harmonic minor scale is sometimes referred to as the "gypsy" minor scale. Yes / No
33) The diminished scale creates no real sense of tonal center. Yes / No
34) The diminished scale is based upon the interval of a minor 3rd? Yes / No
35) We can create a diminished arpeggio by simply stacking minor 3rds. Yes / No
36) The following sequence of pitches ascending in minor 3rds is correct as written. Yes / No
| C | Eb | Gb | A | C | Eb ... |
37) The loop of pitches in example 36 contains a fully diminished arpeggio.
Yes / No
38) We can create two different diminished scales from the arpeggio in example 34. Yes / No
39) Please describe in your own words how these two groups of pitches are created using the core diminished arpeggio from example 34. .
40) Knowing that the minor 3rd interval is divisible by either a whole step / half step or half step / whole step configuration, please examine the following chart for accuracy in creating the two diminished scales from the above diminished arpeggio in example 34.
| 1 | 1/2 | 1 | 1/2 | 1 | 1/2 | 1 | 1/2 | |
| C | D | Eb | F | Gb | Ab | A | B | C |
| 1/2 | 1 | 1/2 | 1 | 1/2 | 1 | 1/2 | 1 | |
| C | Db | Eb | E | Gb | G | A | Bb | C |
Accurate? Yes / No
41) The whole tone scale is created exclusively with the interval of the whole step. Yes / No
42) There are absolutely no half steps in the whole tone scale. Yes / No
43) All of the melodic resources within equal temper can be derived and extracted from the chromatic scale. Yes / No
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