For the past couple of days, I’ve been stuck on teaching you how to name chords correctly.

Today, I want to shift the focus to scales because I’ve seen many people incorrectly write their major scales.

For example, here are some common mistakes:

F# major (incorrect)
F# - G# - A# - B - C# - D# - F - F#

Gb major (incorrect)
Gb - Ab - Bb - B - Db - Eb - F - Gb

Or worse…

F# - Ab - Bb - B - C# - D# - F - F# (the popular incorrect “hybrid” way)

Now, to be fair… and I always say it —

There’s the “I just wanna play” method and there’s the “pass a music theory test” method.

Even when I’m talking and I don’t want to say Cb or E# (because then I’ll have to explain it to the recipient and that’ll slow me down), I’m guilty of using the “I just wanna play” method. It’s not going to alter the way you play. As long as you have the RIGHT notes, it’s all going to come out the same way when played. We all know that.

But why not spell it right? That’s always my underlying philosophy when I write about these sort of things. Why settle for bad musical grammar when you don’t have to? Especially when there are easy little rules to remember…

So here are 4 simple rules to making sure your major scales are labeled correctly:

1) Always use ALL alphabet letters (if even ONE letter is missing from your major scale, it’s WRONG)

2) Never skip any alphabet letters (this one is like rule #1 because if you’re skipping something, it’s missing and that’s WRONG)

3) Never duplicate any alphabet letters (only ONE unique alphabet letter per tone… if you’re duplicating, you’re most likely skipping another letter and that means it’s _________ … you know it! …WRONG!)

4) In major scales, sharps go with sharps… flats go with flats! Don’t mix and match and you’ll be fine! (Note: Not all scales operate this way. For example, melodic and harmonic minor scales may have mixed sharps and flats, among others… but that’s another lesson).

So let’s take our incorrect scales and figure out where they have broken the rules…

F# major (incorrect)
F# - G# - A# - B - C# - D# - F - F#

In this scale, the letter “E” wasn’t used at all. That breaks rule #1. Why? Because we totally skipped it by using two “F’s.” That pretty much breaks rules 2 and 3.

That “F” is the problem. We need to use some kind of E there. All letters are required or we fail the test. What can we do the E to make it sound like F?

Answer: Sharp it! So we turn our E into E# and this helps our scale to be complete. Now we’re using all letters, and thus, not skipping or duplicating any.

Correct way

F# major (correct)
F# - G# - A# - B - C# - D# - E# - F#

*Another “unwritten rule” (not shown in my list, that is) concerns the number of sharps or flats a major scale has. Notice now that the F# major scale has 6 unique sharps (don’t include the second F# at the end). When we spelled it incorrectly, it only had 5 sharps. If you look at any “circle of fifths” chart, you will see that F# is supposed to have 6 sharps. So we pass that test, too!

Gb major (incorrect)
Gb - Ab - Bb - B - Db - Eb - F - Gb

This scale has the same problem. We used the letter “B” twice and we skipped C altogether. Simply calling the “B” a “Cb” will solve this problem.

Correct way…

Gb major (correct)
Gb - Ab - Bb - Cb - Db - Eb - F - Gb

*And just like F#, Gb should have six unique flats. We weren’t getting that when we were spelling it incorrectly. Now we do. So spelling correctly has its benefits! :)

So remember…

There’s your “I just wanna play” method — and there’s your “pass a music theory test” method. Usually, I’m operating under the second but it depends on what my purpose is.

I know that many people read this blog… mainly people who “just want to play.” And sometimes, if I have to throw a “C flat” out there on a lesson that is focusing totally on something else — as a teacher who doesn’t want anyone to be super confused, I feel like I have to STOP and explain that “C flat” if I’m going to throw it out there… or the whole lesson is messed up from that point on because someone who has never heard of C flat will be thrown off.

So sometimes, I’m “innocently” guilty of just calling it “B” and moving on to the main meat of my lesson. But don’t worry, if I do it, I usually preface it by calling it the “informal” way.

Even I have two natures so that’s why I come from BOTH places when I’m teaching. I know some people could careless if it’s called “B,” “C flat” or “Z.” They just want to know if it’s in their major chord and if it’s going to make them sound good. And I totally understand that. After all, we teach how to play by ear and most people who fall under our category just wanna play.

So there you have it! A nice little lesson AND some insight into my teaching philosophy, too! :)

Until next time —

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Playing your major scales should be a part of your daily practice regimen.

However, practicing them in a “circle of fourths” or “circle of fifths” pattern is even better.

Let’s focus more on circle of fourths.

If you type “circle of fourths” or “circle of fifths” in google, you can actually find a host of other examples.

Notice that the keys go from: C >>> F >>> Bb >>> Eb and so forth.

If this were a clock, C would be at 12 o’ clock. F would be at 11 o’ clock. Bb would be at 10, and so forth.

This is the optimal way to play your scales. Start with C major. Play it all the way through (C D E F G A B C).

Then play your F major scale all the way through (F G A Bb C D E F). Then your Bb major scale (Bb C D Eb F G A Bb).

Why the circle?

Because music also happens to move in this same pattern (way beyond the scope of this article but I’ll touch on it a little bit). As you play chords and progressions later, you’ll find that any C chord going to any F chord going to any Bb chord will be a very popular progression and you’ll play it ALL THE TIME.

But here’s another reason to use the circle.

Because it lets you know how related the major keys are to each other.

If one just looked at a piano, they’d assume that C and Db, for example, were related because of how close they appear to each other on the piano. BUT THIS ISN’T TRUE.

The reality is that C and F are more related. This is why they are neighbors on the circle and not C and Db (or C#).

Let’s look at this.

The C major scale is: C D E F G A B C

The F major scale is: F G A Bb C D E F

Really take the time to analyze these notes. Notice anything?

Bingo! The only difference between the C major scale and the F major scale is ONE note. Notice that F major has all white notes just like C. The only difference is one black key and that’s Bb.

So here’s the golden rule.

***********
To get from one key on the circle to the next (going the counter-clockwise direction of C to F to Bb to Eb and so on), just take the 7th note of any scale, lower it a half step, and that gives you the ONLY difference between the current scale and the next one on the circle.

C major: C D E F G A B C

Count 7 notes… B is the 7th note.

Lower it one half step (remember half steps are from key to key with NO keys in between… whole steps always skip a key with ONE key in between). So in this case, we’d lower it from B to Bb.

This Bb represents the only difference between C and F major… and it’s true.

The only other thing we’d have to do is play these same exact notes (C D E F G A Bb C) but starting and ending on F instead of C (because this is the F major scale, not the C major scale anymore).

Make sense?

If you wanted to find out how to find the notes of the next major key on the circle after F major, you’d do the same thing.

Take the 7th note of F major, lower it one-half step to find the only change. Then start and end on the next key of your major scale.

VERY SIMPLE! Re-read this article until it clicks.

I hope this helps.

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In this month’s online classroom, I’m going to share with you a few video clip lessons from the GospelKeys^TM 202 video course. I’ve selectively pulled out clips that I think you’ll benefit from, whether you consider the entire course or not.

Before I introduce the video clips, it is important that you understand the whole concept of learning worships songs (or any song for that matter) by ear:

It all starts with major scales.

You should already know that there are 12 different major scales. When someone is singing, they’ve either knowingly picked ONE of the twelve keys to sing in (which might be their favorite key or a predetermined key for the song they’re singing) OR they have just started singing in whatever range that is comfortable for them. In this instance, they don’t really know their major key and it is your job to figure out what key they’re singing in.

A singer can’t be in two keys at once. At any given time, you will only be in one major key. Songs may modulate or go to another major key, but will only be in one major key at a time.

We focus on Db major in the GospelKeys^TM 202 video course.

I start the course by teaching you several different chords that you can play on each tone of the major scale. Just to break down the concept for you, here is a Db major scale:

Db major scale

Db __ Eb __ F __ Gb __ Ab __ Bb __ C __ Db __

In other words, I teach you several chords to play on each one of these tones. Since every major key on the piano has its own major scale, these same chords can be applied to all 12 major keys! Always transfer what you learn from ONE key to all TWELVE keys. This is a very very smart and effective habit to develop, especially if you’re just starting out!

Also, it is important to understand each note of a major scale by its corresponding number. In other words:

Db = 1

Eb = 2

F = 3

Gb = 4

Ab = 5

Bb = 6

C = 7

Db = 8 (or the same as 1 basically)

Majority of the time, a song is progressing from one of these tones to another. I’d say more than 80% of the time, you’re playing chords that correspond with notes of the major scale.

Yes, there are times when, in the key of Db, you’ll hit a B major chord. Notice that “B” is not a part of the Db major scale. In this instance, “B” is actually the flat 7 note of the scale. “How do you create a flat 7,” you may ask?

Simply go to the 7th note of the scale (which is “C” in this example) and lower it one-half step (or one note). Remember, only lower it one note. Don’t skip any notes, whatsoever. I say that because some people don’t realize that black keys are a part of the piano just as well as white keys. In other words, when you lower a note, don’t skip any black notes.

In this case, since C doesn’t have a black key behind it, you’d lower it directly to B.

B is the flat seventh of Db major. This is just one example where you’d play a note or chord that may not necessarily align with the notes of your major scale. This will happen but not nearly as much as regular progressions within the notes of the major scale.

Most of the time, you’ll be playing from a 1 chord to a 3 chord, or a 1 chord to a 5 chord, or a 3 chord to a 6 chord, or a 6 chord to a 2 chord, just to give a few examples. Most songs stay with the number patterns.

Now that you understand the number system, I can talk in GospelKeys^TM language.

Patterns like “1-3″, “3-6″, “6-2″, “2-5-1″, and others all come from major scales.

Db = 1

Eb = 2

F = 3

Gb = 4

Ab = 5

Bb = 6

C = 7

Db = 8

Just to make sure you understand, let’s take a short quiz:

1) In the key of Db major, a 1-3 progression consists of what two keynotes?

____ (1) **** ____ (3)

2) In the key of Db major, a 2-5 progression consists of what two keynotes?

____ (2) **** ____ (5)

3) In the key of Db major, a 7-3-6 progression consists of what three keynotes?

____ (7) **** ____ (3) **** ____ (6)

4) In the key of Db major, a 1-4 progression consists of what two keynotes?

____ (1) **** ____ (4)

Ok, now grade yourself:

Answers:

1) Db to F

2) Eb to Ab

3) C to F to Bb

4) Db to Gb

Note: Of course, all of these notes will be connected with chords. But for this example, I just wanted you to know the keynotes involved (the title of the chords).

Ok, so now that you have a crash course on what I call “couples” (just another way of saying very small chord progression), we can move on to the video clips.

Click to watch this video clip	Video Lesson #1 This clip teaches a type of voicing that few musicians have ever heard of. It’s called the “Quartal” chord. It creates a very contemporary sound. Do yourself a favor and learn this chord in all twelve keys! Duration: 1:17
Click to watch this video clip	Video Lesson #2 This clip teaches you multiple “2″ chords to play. Remember, a “2″ chord commonly begins what we call a “2-5-1″ chord progression. If you understand anything about these progressions, you know that they commonly end songs. In other words, even an audience knows when to start applauding when a 2-5-1 approaches. Duration: 1:34
Click to watch this video clip	Video Lesson #3 A continuation of clip #2, you’ll learn some more fancy “2″ chords that are sure to spice up your playing. There is one chord I teach in this clip that you don’t want to pass up! It utilizes all five fingers and I warn you — you have to stretch for this one! Duration: 1:15
Click to watch this video clip	Video Lesson #4 This altered chord is probably one of the most commonly played chords in gospel music. From personal experience, I use it in probably 70% of songs I play. Now, keep in mind that I’m referencing the type of chord (7 #9#5) — remember that this chord can be played in 12 different keys! No matter what song you’re playing, it will show up sooner or later! Duration: 1:13

Click here for all 10 video lessons (over 20 minutes in content)!

Well… obviously I couldn’t fit all 20 minutes worth of video clips in this e-mail. But please do yourself a favor and visit http://www.hearandplay.com/gk202clips.html to see all 10 of them and more!

You’ll find clips ranging from chords to chord progressions, from left-hand bass techniques to right hand “licks”, from simple “grooves” to full songs with vocalists, drums, and live accompaniment. It’s worth taking a look at: http://www.hearandplay.com/gk202clips.html

Explore these chord types along with the GospelKeys 202 video course:

• Major triads; see pg chapter 5 of 300pg course
• Minor triads; see pg chapter 8 of 300pg course
• Major sixth chords; see pg chapter 13 of 300pg course
• Minor sixth chords; see pg chapter 13 of 300pg course
• Seventh (dominant) chords; see pg chapter 10 of 300pg course
• Minor seventh chords; see pg chapter 10 of 300pg course
• Major ninth chords; see pg chapter 14 of 300pg course

Well, I hope you enjoyed this month’s newsletter and I’ll be back! Take care!

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Well, let’s get to work!

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Piano Lessons Workshop #1: Major Scales (i)

In music, there is a pattern for everything! I’m going to teach you the pattern used to create major scales.

First, let’s start with the basics. There are 12 major scales; one for every major key on the piano

You have the white keys:

C major
D major
E major
F major
G major
A major
B major

… and then you have the black keys (called “sharps” or “flats”):

C Sharp or D flat
D Sharp or E flat
F Sharp or G flat
G Sharp or A flat
A Sharp or B flat

Today, we will learn how to form the following major scales:

(1) C Major Scale
(2) D Major Scale
(3) E Major Scale
(4) F Major Scale
(5) G Major Scale
(6) A Major Scale

In order to form major scales, you have to understand the concept of “whole steps and half steps.” I have a free piano lesson on “whole and half step intervals” at: http://www.hearandplay.com/p2abc3xkpt.html

… but for the sake of this e-mail lesson, I will recap:

Whole steps and half steps describe distance in music. That is, the distance in notes from one key to another.

————-
Whole Step
————-

A “whole” step always skips a key…

————-
Half Step
————-

A “half” step never skips a key…

Remember this poem:

“A half step is from KEY TO KEY with NO keys in between,
A whole step always SKIPS a key with one key in between”

EXAMPLES:

“D” is 1 whole step higher than “C”

Why? Because if you start at C and “skip” a key, you’ll arrive at “D”. What key are you skipping? Let’s see:

C — (skip C#) — D

However, “C#” is 1 half step higher than “C”

Why? Because you are NOT skipping any keys to go from “C” to “C#.”

So essentially:

1 Whole Step = 2 keys
1 Half Step = 1 key

More examples:

C to D = 1 whole step
C to E = 2 whole steps

… and so on.

(Whole Step = “w” *** Half Step = “h”)

The Major Scale pattern is as follow:

w - w - h - w - w - w - h

This means:

1. From the starting note, the second note will be 1 (w)hole step higher.

2. From the second note, the third note will be another whole step higher.

3. From the third note, the fourth note will be a (h)alf step higher.

4. From the fourth note, the fifth note will be a whole step higher.

5. From the fifth tone, the sixth note will be a whole step higher.

6. From the sixth tone, the seventh tone will also be a whole step higher.

7. From the seventh tone, the last tone will be only a half step higher.

In C major:

1. The starting note is “C”
2. 1 whole step up is “D” (w)
3. Another whole step up is “E” (w)
4. 1 half step up is “F” (h)
5. 1 whole step up is “G” (w)
6. Another whole step up is “A” (w)
7. Another whole step up is “B” (w)
8. 1 half step up is “C” (h)

Exercise:

Repeat these 8 steps with the following major scales. The answers are listed below:

2) D major
3) E major
4) F major
5) G major
6) A major

————————–

D major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

E major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

F major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

G major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

A major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

———————————-

Note: Remember, in major scales, each note is played separately. Only in chords are more than 2 notes played at the same time.

Scales = play each note separately
Chords = play all notes together

Here are the answers:

D major

D - E - F# - G - A - B - C# - D

E major

E - F# - G# - A - B - C# - D# - E

F major

F - G - A - Bb - C - D - E - F

G major

G - A - B - C - D - E - F# - G

A major

A - B - C# - D - E - F# - G# - A

——————–

If you thought this little lesson was informative, imagine what you will learn in my 300-pg piano course? For more information, visit:

http://www.hearandplay.com/course

… or call 1-877-856-4187

Thank you for your time!

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Let’s get to today’s lesson…

I’ve already taught you the basics. Let’s just quickly finish up the major scales so that we can learn the chords tomorrow!

If you need a reminder on forming scales, pull out yesterday’s e-mail lesson…

Here are the remaining major scales to learn:

B Major
Db Major
Eb Major
Gb Major
Ab Major
Bb Major

Using the same formula as yesterday, create the following major scales:

B major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

Db major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

Eb major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

Gb major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

Ab major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

Bb major:

1) Starting note = ______
2) 1 whole step up = ______
3) 1 whole step up = ______
4) 1 half step up = _____
5) 1 whole step up = ______
6) 1 whole step up = ______
7) 1 whole step up = ______
8) 1 half step up = ______

Now that you have completed the worksheet above, check your major scale answers with the answers below:

B Major

B - C# - D# - E - F# - G# - A# - B

Db Major

Db - Eb - F - Gb - Ab - Bb - C - Db

Eb Major

Eb - F - G - Ab - Bb - C - D - Eb

F Major

F# - G# - A# - B - C# - D# - F (but technically “E#”) - F#

Note: With the F# major scale, technically the “F” would be referred to as “E#” (even though “E” does not have a black key in front of it). But since we are not reading music, I will keep it simple.

Ab Major

Ab - Bb - C - Db - Eb - F - G - Ab

Bb Major

Bb - C - D - Eb - F - G - A - Bb

Congratulations on learning all 12 major scales. Join me tomorrow to learn the major chords!

Good job!

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If someone asked you, “what is a scale?” … would you be able to answer them?

Scales are important. They are the basis of melodies and chords. Without knowing your scales, you are a car mechanic without his tools.

What are scales? A good way to define a scale is to list the following characteristics:

-A scale is an organized series of pitches
-A scale utilizes accidentals, when necessary
-A scale consist of a series of notes that differ in sound
-A scale is linked to the concept of “Keys” in that a song which utilizes a given scale is said to be in that key (For example: “Mary had a little lamb in C major”).

In our 300-pg course, we teach the following principle:

A major scale has 8 tones. The (C major scale) is: C-D-E-F-G-A-B-C. In other words, the (C major scale) consists of all the white keys in between to the “C” notes.

It is very important that you remember this poem:

“Half steps are from key to key with NO keys in between,
Whole steps always skip a key with ONE key in between.”

(H) Half Step: key to key (for example, C to C# is a half step because there are no skipped notes)

(W) Whole step: every other key (for example C to D because C# is skipped —- or F to G because F# is skipped).

The major scale is built using the following pattern:

W-W-H-W-W-W-H

For example, in C major:

C to D is a whole step (w).
D to E is a whole step (w).

However, E to F is a half step (h).

F to G is a whole step (w).
G to A is a whole step (w).
A to B is a whole step (w) and …

B to C is a half step (h).

With this principle, you should be able to learn your major scales in all 12 keys! Just start with the first note and build on top of it.

C = C + D + E + F + G + A + B + C

You try the rest …

C# = __ + __ + __ + __ + __ + __ + __ + __
D = __ + __ + __ + __ + __ + __ + __ + __
Eb = __ + __ + __ + __ + __ + __ + __ + __
E = __ + __ + __ + __ + __ + __ + __ + __
F = __ + __ + __ + __ + __ + __ + __ + __
F# = __ + __ + __ + __ + __ + __ + __ + __
G = __ + __ + __ + __ + __ + __ + __ + __
Ab = __ + __ + __ + __ + __ + __ + __ + __
A = __ + __ + __ + __ + __ + __ + __ + __
Bb = __ + __ + __ + __ + __ + __ + __ + __
B = __ + __ + __ + __ + __ + __ + __ + __

Thank you for your time!

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The key to learning major scales (01)

Note: Please pay attention to this lesson as you will need to know how to play scales when forming various major chords.

Get the rest of this lesson by clicking here

Note: Disregard the "SLXYZ" numbers (if any) as they refer to sound examples. Our 300-pg course comes with a CD with over 330 sound examples which can be heard with the click of a button. (Example: SL003)

This concludes lesson #1. This lesson is just half of what our course covers on major scales! To see how you can get this chapter with tons of written and interactive exercises, along with 19 other chapters, please click here

If you are enjoying these lessons, please recommend them to your friends!

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