workbook / melodic resources

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
  1 1 / 2 1 1 1 / 2 1 1
  1 1 1 / 2 1 1 1 1 / 2
A B         G A
  D         B C
D   F   A     D
F   A Bb     E  
  A   C D Eb F G
Bb       F     Bb
C   Eb F     Bb C
Eb F     Bb C    
F G   Bb     Eb  
    C Db Eb     Ab
Bb   Db Eb       Bb
    F Gb       Db
Eb F     Bb Cb    
Gb       Db Eb   Gb
  A# B       F# G#
B C#   E     A#  
C# D#   F# G# A    
  F# G# A   C# D# E
    A B       F#
A       E F# G A

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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