Below is an example of the heptatonic blues scales:
W + W | W + ½ | ½ | ½ | W + W | W + ½ | ||||||
A | C | D | D# | E | G | A | |||||
A# | C# | D# | E | F | G# | A# | |||||
B | D | E | F | F# | A | B | |||||
C | D# | F | F# | G | A# | C | |||||
C# | E | F# | G | G# | B | C# | |||||
D | F | G | G# | A | C | D | |||||
D# | F# | G# | A | A# | C# | D# | |||||
E | G | A | A# | B | D | E | |||||
F | G# | A# | B | C | D# | F | |||||
F# | A | B | C | C# | E | F# | |||||
G | A# | C | C# | D | F | G | |||||
G# | B | C# | D | D# | F# | G# | |||||
Because I use Ableton 8 exclusively the sharps and flats are always considered sharps. For example A# and Bb are both the same frequencies anyway.
The way I use this is to pick a key, decide what tonic note I wish to start with (usually the key note), and read across the rows for the choices of notes that I am allowed to use.
Right now I have, depending on how you count, four or six distinct scale charts that I will use: Major, Minor, Phrygian (all the same scales really just shifted left or right), Hexatonic Blues, Gypsy Phrygian (very cool Arabic sounds from this one) and Harmonic Minor. Although I should explore the Melodic Minor Scale some time, it does not translate well into a single chart, as there are two aspects to it: ascending and descending.
After the purchase of a guitar, I thought to myself that the best way to learn the notes on the fretboard would be a similar table:
0 | E | A | D | G | B | E | |
1 | F | A# | D# | G# | C | F | |
2 | F# | B | E | A | C# | F# | |
* | 3 | G | C | F | A# | D | G |
4 | G# | C# | F# | B | D# | G# | |
* | 5 | A | D | G | C | E | A |
6 | A# | D# | G# | C# | F | A# | |
* | 7 | B | E | A | D | F# | B |
8 | C | F | A# | D# | G | C | |
* | 9 | C# | F# | B | E | G# | C# |
10 | D | G | C | F | A | D | |
11 | D# | G# | C# | F# | A# | D# | |
** | 12 | E | A | D | G | B | E |
13 | F | A# | D# | G# | C | F | |
14 | F# | B | E | A | C# | F# | |
* | 15 | G | C | F | A# | D | G |
16 | G# | C# | F# | B | D# | G# | |
* | 17 | A | D | G | C | E | A |
18 | A# | D# | G# | C# | F | A# | |
* | 19 | B | E | A | D | F# | B |
20 | C | F | A# | D# | G | C | |
* | 21 | C# | F# | B | E | B | C# |
22 | D | G | C | F | C | D |
These tables have been indispensable for me in learning music theory.
David
HMM/TCM
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