visualisation of 12 major keys

Discussion in 'Playing and Technique' started by purestmonk, Mar 24, 2008.

  1. purestmonk

    purestmonk Member

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    ive been working on visualising and mapping out all 12 major keys, which i believe is fundamental for aspiring guitarists

    just wondering if anyone knows of any methods which could facilitate this process of mine?
     
  2. dewey decibel

    dewey decibel Supporting Member

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    Huh? I'm not really sure what you mean...
     
  3. Elektrik_SIxx

    Elektrik_SIxx Member

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  4. JonR

    JonR Member

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    Circle of 5ths?
     
  5. sampleinajar

    sampleinajar Member

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    I think I know what you are trying to do, and I would suggest drawing them all out on paper. Many, many times. 25 years ago, when I was stuck in study hall, away from my guitar, I would draw fretboards and put dots on for all the scales. Pentatonics, major scales, everything. Use the diagrams to think about interesting fingerings for accessing the scales. Do this for all of the major scales. By default, you then have all of the minor scales and modes. The act of repetitively writing it down burns the images into your brain. Then practice them with your guitar.

    Good luck on the journey, and HAVE FUN!

    Steve
     
  6. purestmonk

    purestmonk Member

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    thanks, i do that some times whenever ive got no guitar .. i picture them in my mind sometimes too!



     
  7. Clifford-D

    Clifford-D Member

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    This is how I teach my students the key signatures


    First,
    In a nutshell = Do Re Mi Fa So La Ti Do
    That is a major scale.

    A very large amount of songs are played with one major scale.

    When a song uses one major scale then it is in that "key"

    So if we have

    C D E F G A B C
    = Do Re Mi Fa So La Ti Do - We are in the key of C

    The key of C is the only key that uses all natural notes. No sharps and no flats.

    All other keys use either sharps or flats.

    Here is a great way to get a handle on Key Signatures.


    .........................magic number is 7
    FLAT SIDE...................................SHARP SIDE

    C =. 0........................................C# = 7 = F# C# G# D# A# E# B#

    F = 1 =. Bb.................................F# = 6 =F# C# G# D# A# E#

    Bb = 2 = Bb Eb.............................B = 5 = F# C# G# D# A#

    Eb = 3 = Bb Eb Ab.........................E = 4 = F# C# G# D#

    Ab = 4 = Bb Eb Ab Db....................A = 3 = F# C# G#

    Db = 5 = Bb Eb Ab Db Gb................D = 2 =F# C#

    Gb = 6 = Bb Eb Ab Db Gb Cb............G = 1 = F#


    Cb
    = 7 = Bb Eb Ab Db Gb Cb Fb........C = 0

    Now the fun starts.

    Both side add up to seven.

    We use seven letters in music A B C D E F G = 7


    This is how I use the above grid

    See the word BEAD on the flat side.
    Notice BEAD is backwards on the sharp side = DAEB

    C and C#
    F and F#
    Bb and B
    Eb
    and E
    Ab and A
    Db and D
    Gb and G
    Cb and C

    Pancake them

    Bb...Eb...Ab...Db...Gb...Cb...Fb
    F#..C#.. G#...D#..A#...E#...B#


    Notice the letters are in reverse order from each other
    on each side. They are inverted

    The word BEAD can make it EASY to learn.

    Here's how to use it to memorize Key Signatures;

    Let's take The key of Eb for our example.
    If Eb has three flats Bb Eb Ab then E must have four sharps F# C# G# D#
    this then would equal all the 7 letters. Between the two sides.

    If you know the key of Bb has two flats
    then the key of B must have five sharps.
    2+5 = 7 .
    Magic number is 7.

    If F has one flat, then F# has six sharps
    1+6 = 7


    Here's another way to look at it.

    Let's use the key of Ab

    Ab has four flats and it just happens to spell the word BEAD
    So we have Bb Eb Ab Db

    That leaves three notes still natural in the key of Ab = F C and G

    F C and G just happen to be the sharps in the key of E= F# C# G#


    Here's another way

    What's natural on one side
    of the graph becomes accidentalized on the other
    What's accidentalized on one side becomes natural on the other
    All keys that share the same letter for the key work this way

    C and C#
    F and F#
    Bb and B
    Eb
    and E
    Ab and A
    Db and D
    Gb and G
    Cb and C
    in each case these keys sum to 7

    To sum it up, the sharp and flat accidentals are like mirror opposites
    If you know one side then you know the other side.


    Totally easy way to learn those old key signatures.imo

    Ask me questions if this is confusing.


    :)
     
  8. KagakuNinja

    KagakuNinja Member

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    That is pretty deep. I'm confused though, isn't Cb the same as B? By your explanation, Cb has a signature of: Bb Eb Ab Db Gb Cb Fb, and B has a signature of: F# C# G# D# A#
     
  9. Washburnmemphis

    Washburnmemphis Member

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    Correct. :AOK

    Convert either set to their enharmonic equivalent and you will see the connection. i.e. Bb = A# ,Eb=D# Ab=G# , Db=C#, Gb=F#, Cb=B, Fb=E
     
  10. Clifford-D

    Clifford-D Member

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    Cb is only used here to make my point.
    Same with C# and even Gb

    Those would be totally silly to play in.

    But they do aide in my point that both sides accidentals sum to 7

    Cb
    = 7 = Bb Eb Ab Db Gb Cb Fb......................C = 0


    C = 0...................C# = 7 = F# C# G# D# A# E# B#
     
  11. e-z

    e-z Member

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    Cb and B are enharmonic pitches on the guitar but they are two distinct keys.
     
  12. e-z

    e-z Member

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    Thanks for that summary Clifford. I never learned the Magic Number is 7 method.
     
  13. Dickie Fredericks

    Dickie Fredericks Member

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    Good stuff. Thats how I always though of it too.
     
  14. purestmonk

    purestmonk Member

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    but clifford, im referring to more of mapping out all the notes on the fretboard visually in the shortest amount of time

    thanks for your insight though:AOK
     
  15. Clifford-D

    Clifford-D Member

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    This is also probobly not what your looking for but check it out.

    http://www.unconservatory.org/harmonicexperience/2640.html
     
  16. Aj_rocker

    Aj_rocker Member

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    how i started to visualise it is too write out 5 (or 7) shapes each on a new piece of paper (really big like 5 or 7 A4 sheets). and then if you want to play in F you can arrange the papers so that shape one is first and shape two is second and so on. so then you want to run Bb, so the F note becomes the start of shape 4. so you move the paper so the fourth shape is first followed by shape five, then one and so on.

    when you have the shapes down you dont need to the paper so much.


    hope that helps


    AJ
     
  17. Clifford-D

    Clifford-D Member

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    Here's a good scale (mode) practice idea as it relates to the fretboard.
    It just may help in the demystification and shrinking of info.

    I posted this a couple weeks ago but what the heck.

    This is a visualization/memorization concept of one Key only, you must
    then repeat it 11 more times for the other keys.





    Play a G major scale using three notes per string.
    The first note on each string will follow the Diatonic Circle of 4ths.

    |-------------5-|
    |-----------5---|
    |---------4-----|
    |-------4-------|
    |-----3---------|
    |---3-----------|

    If you eliminate the first string and relplace it with the sixth string
    your diatonic circle flows.

    |------------------------------------------------------------------------------------------|
    |---------5---------7---------8---------10-------------12-------------13-------------15----|
    |-------4---------5---------7---------9-------------11-------------12-------------14-------|
    |-----4---------5---------7---------9------------10-------------12-------------14----------|
    |---3---------5---------7---------9-----------10-------------12-------------14-------------|
    |-3---------5---------7---------8----------10-------------12-------------14-------------15-|





    Now flesh out the rest of the two notes on each string.

    |----------------------------------------------------------------|
    |---------------------------
    5-7-8-------------------------7-8-10-|
    |---------------------4-5-7-------------------------
    5-7-9--------|
    |---------------4-5-7-------------------------5-7-9--------------|
    |---------3-5-7-------------------------5-7-9--------------------|
    |---3-5-7-------------------------
    5-7-8--------------------------|

    |--------------------------------------------------------------------------------|
    |-------------------------------8-10-12---------------------------------10-12-13-|
    |------------------------7-9-11---------------------------------9-11-12----------|
    |-----------------7-9-10--------------------------------9-10-12------------------|
    |----------7-9-10-------------------------------9-10-12--------------------------|
    |---7-8-10------------------------------8-10-12----------------------------------|



    |-------------------------------------------------------------------------------------------|
    |-------------------------------------12-13-15-------------------------------------
    13-15-17-|
    |----------------------------11-12-14-------------------------------------
    12-14-16----------|
    |-------------------10-12-14-------------------------------------12-14-16-------------------|
    |----------
    10-12-14-------------------------------------12-14-15----------------------------|
    |-10-12-14-------------------------------------12-14-15-------------------------------------|



    |------------------------------------------------|----|
    |---------------------------------------15-17-19-|----|
    |------------------------------
    14-16-17----------|----|
    |---------------------14-16-17-------------------|----|
    |------------14-15-17----------------------------|----|
    |---14-15-17-------------------------------------|-
    15-|

    See the ascending pattern of three red, two blue, two green.
    and then it repeats over and over as it moves up the neck.

    These are the only three "shapes" that make up these scales
    when using three notes per string, no others.

    Shape 1
    = |..X..|.....|..X..|.....|..X..|

    Shape 2 = |..X..|..X..|.....|..X..|

    Shape 3 = |..X..|.....|..X..|..X..|


    With the first note of each string you are also starting a mode.

    |----------------------------------------------------------------|
    |---------------------------5-7-8-------------------------7-8-10-|
    |---------------------4-5-7-------------------------5-7-9--------|
    |---------------4-5-7-------------------------5-7-9--------------|
    |---------3-5-7-------------------------5-7-9--------------------|
    |---3-5-7-------------------------5-7-8--------------------------|


    |----------
    |----------
    |----------
    |----------
    |----------
    |----3-5-7- = the first thre notes of the Ionian scale
    or
    |----------
    |----------
    |----------
    |----------
    |----3-5-7- = the first three notes of the Lydian scale
    |----------
    and so on,

    There are many ways this info can be used
    to minimize the abstracts of theory..




    Simple


    :)
     
  18. jjboogie

    jjboogie Member

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    This is awesome! I would like to use this to teach my students! Love it!
     

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