Scales and Arpeggios
Scales and Arpeggios
Scales and Arpeggios
Piano / Keyboard
SCALES & ARPEGGIOS
In Music Notation
& Keyboard View
Martin Woodward
2
Copyright © 2015 Martin Woodward
All rights reserved. This book or any portion thereof may not be reproduced or used in any
manner whatsoever without the express written permission of the publisher except for the use
of brief quotations in a book review or scholarly journal.
ISBN: 978-1-326-49236-6
Enquiries: http://learn-keyboard.co.uk
Introduction ............................................................................................................... 6
Get the Best from this Book.................................................................................... 6
Using the in Book Links ......................................................................................... 7
Your First Scales........................................................................................................ 8
A Pre Scale Exercise .............................................................................................. 8
The Major Scale .................................................................................................. 10
Minor Scales ........................................................................................................ 11
The Whole Tone Scale ......................................................................................... 13
The Chromatic Scale............................................................................................ 14
Pentatonic and Blues Scales ................................................................................ 15
Scale Exercises (major & minor) ............................................................................ 17
Pentatonic & Blues Scales in the most used keys ................................................... 42
Scale Modes Explanation ........................................................................................ 51
Modes of the Pentatonic Scales ............................................................................ 54
Scale Modes in Most Keys ....................................................................................... 57
Arpeggios & Broken Chords ................................................................................... 67
Broken Chords in the most used keys ................................................................... 80
Thank You ............................................................................................................... 82
Download Link .................................................................................................... 82
Further Reading .................................................................................................. 82
Free Software ...................................................................................................... 83
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Or to put it another way it’s: 2 - 2 - 1 - 2 - 2 - 2 - 1 for a one octave span, which is the
interval sequence for every major scale.
So, with a bit of mathematical knowledge you could easily work out every major
scale. But to save your brain they’re all included herein.
In the next chapter you’ll see every major scale in every key shown both in keyboard
and notation view. In all cases I’ve included the important fingering. Where no
fingering is included, it simply follows consecutively.
Minor Scales
Each major key has a relative minor which shares the same key signature as the major
key. The relative minor can always be found by counting three semitones down from
the first note (the tonic) of the major scale. For instance, three semitones down from C
is A, therefore:
• A minor is the relative to C major;
• E minor is the relative to G major;
• B minor is the relative to D major;
• D minor is the relative to F major etc., etc.
Although the minor keys share the same key signature as their relative major keys,
each minor key has one or more additional sharp(s) and these are always shown as
accidentals as and when they occur (but never in the key signature). In the harmonic
minor scale, there will only ever be one (extra) sharp, which is always the leading note
- one semitone down from the tonic (the first and last note of the scale).
So, what is the difference between a major scale and a minor scale?
The difference is caused because of the different intervals. If you’ve been paying
attention you should know that the interval sequence for all major scales is: 2 - 2 - 1 -
2 - 2 - 2 - 1.
There are two conventional minor scales, the ‘harmonic’ and the ‘melodic’, both of
which have different interval sequences. The ‘natural’ minor scale is simply the major
scale beginning and ending on the relative minor, but even this will also have different
intervals (to the major scale) due to its different starting position. This is also known
as the ‘Aeolian’ mode starting on A - in the case of the A minor natural scale.
If you compare this sequence to the major scale you’ll see that the difference is that
both the 3rd and 6th notes are flattened by a semitone.
Ideally all of the major and minor scales should be practiced with each hand alone and
then together for at least two octaves (four is better) both legato and staccato. Don´t
try and practice them too quickly, it´s far better to practice them slowly, smoothly and
accurately. Speed will come on its own later. All are shown in the next chapter in the
order that they should be learnt. Once you are familiar with them they can be practiced
in any order.
Ideally this scale should be practiced for two or more octaves both staccato and legato
starting and finishing on various notes. The fingering remains the same regardless of
which note you start on.
The trick to learning this scale easily is to remember where the 2nd fingers go - F and
C in the right hand and E and B in the left hand!
The C major pentatonic scale is simply a major triad - C, E & G with an added 6th
and 9th - A & D. These notes form the C 6/9 chord.
The pentatonic and blues scales are shown in detail shortly in the keys in which they
are mainly used.
So, to recap and hopefully make this perfectly clear - the major and relative minor
pentatonic scales are exactly the same as one another except that they start on different
notes. The blues scale is the same as the minor pentatonic with an added flattened 5th
passing note!
The audio link for this section is: http://learn-keyboard.co.uk/scales_2.html
The next few pages show all the major and relative minor scales in the order in which
they should be learnt. They are written here in two octaves, one octave apart, but can
also be played for four octaves. Ideally these should be practiced with each hand
separately and both hands together staccato and legato paying attention to accuracy
and timing. Also make sure that each note is played with an equal pressure. Gradually
increase the speed according to your ability. When you are familiar with them they
can be practiced in any order.
If you have the eBook version, you can of course print out the pages that you require.
Or if you have the printed version, you can download the digital version in order to
hear the examples.
The natural minor scales are only shown in keyboard view but remember that they are
the same as the harmonic minor but with a minor 7th which is also the same as the
melodic minor descending.
The audio links have already been given, for the C major / A minor scales and as the
other major and minor scales sound the same but at different pitches, I see no point in
giving more audio links for these.
Note that the fingering is identical for every scale starting on a white note except for F
major and all of the F minors where the right hand uses the 4th finger on B flat and
B major and all of the B minors where the left hand starts with the 4th finger on the
tonic (B).
There are significant fingering variations to all of the scales starting on black notes for
both hands. In all cases make a special note of where the 4th finger goes!
Also note that the fingering for F# and C# melodic minors is different ascending and
descending in the right hand, as is the G# melodic minor in the left hand.
A Natural Minor
A Harmonic Minor
D Natural Minor
D Harmonic Minor
E Natural Minor
E Harmonic Minor
B Natural Minor
B Harmonic Minor
G Natural Minor
G Harmonic Minor
C Natural Minor
C Harmonic Minor
F# Natural Minor
F# Harmonic Minor
C# Natural Minor
C# Harmonic Minor
F Natural Minor
F Harmonic Minor
G# Natural Minor
G# Harmonic Minor
BO Natural Minor
BO Harmonic Minor
EO Natural Minor
EO Harmonic Minor
These scales are used extensively in jazz, blues and pop improvisation. The fingering
given here is for a guide only as there are many possible alternatives - if it works it’s
correct!
Note that the major pentatonic scales are always the same as the relative minor, but
start on different notes. The major pentatonic being based around the major 6/9 chord
and the minor based round the minor 7sus4 chord - which are the same chords. Know
these chords and you will automatically know these scales!
Note also that the blues scale is almost identical to the minor pentatonic - the only
difference being the added flattened fifth. The blues scales listed here are all written in
the same key as the pentatonic scales, but note that the blues scale is neither major nor
minor (or both).
Using variations on these scales alone can produce some really inventive
improvisations. But add broken chords, arpeggios and the major scales starting on
various notes (modes) and you will have it all!
In all cases in this section the major pentatonic scale is listed first, then the minor
pentatonic and finally the blues scale that relates closest to the minor pentatonic.
And notice that the treble clef is occasionally used in the left hand.
A Blues Scale
E Blues Scale
D Blues Scale
B Blues Scale
G Blues Scale
F# Blues Scale
C Blues Scale
F Blues Scale
As previously mentioned all scales follow the same pattern of intervals. The intervals
for the major scale starting on the tonic is 2 tones followed by a semitone, then 3 tones
and a semitone: 2 - 2 - 1 - 2 - 2 - 2 - 1 - (sometimes written: T - T - s - T - T - T - s).
By starting the scale on a different degree, the intervals will be different thereby
creating a different sound - these are called modes.
The modes of the C major scale are shown for one octave below. Click on the
graphics to hear them if you want to.
Ionian Mode
The ‘Ionian’ mode is the ‘normal root position mode’ starting on the tonic and the
intervals are 2 - 2 - 1 - 2 - 2 - 2 - 1. In the key of C major the notes are: C - D - E - F -
G - A - B - C.
Dorian Mode
The ‘Dorian’ mode begins on the 2nd degree (supertonic) of the major scale and the
intervals are 2 - 1 - 2 - 2 - 2 - 1 - 2. In the key of C major the notes are: D - E - F - G
- A - B - C - D.
The ‘Phrygian’ mode begins on the 3rd degree (the mediant) of the major scale and
the intervals are 1 - 2 - 2 - 2 - 1 - 2 - 2. In the key of C major this begins / ends on E.
Lydian Mode
The ‘Lydian’ mode begins on the 4th degree (sub-dominant) of the major scale and the
intervals are 2 - 2 - 2 - 1 - 2 - 2 - 1. In the key of C major this begins / ends on F.
Mixolydian Mode
The ‘Mixolydian’ mode begins on the 5th degree (dominant) of the major scale and
the intervals are 2 - 2 - 1 - 2 - 2 - 1 - 2. In the key of C major this begins / ends on G.
The ‘Aeolian’ mode begins on the 6th degree (sub-mediant) of the major scale and the
intervals are 2 - 1 - 2 - 2 - 1 - 2 - 2. In the key of C major this begins / ends on A.
This mode is also the ‘natural’ minor scale, in the fact that it starts on the relative
minor, but without the added sharps in the harmonic and melodic scales. This mode is
particularly important for improvising.
Locrian Mode
The ‘Locrian’ mode begins on the 7th degree (leading note) of the major scale and the
intervals are 1 - 2 - 2 - 1 - 2 - 2 - 2. In the key of C major this begins / ends on B.
I wouldn’t suggest practicing these until you are thoroughly confident with the
various scales in the root (Ionian) mode, but ultimately, they are very important
although it doesn’t matter whether you remember the names or not!
When you’re ready just practice the most important major scales starting on different
degrees and you’ve got it! Two octave examples in the most used keys are shown in
the next chapter in notation view only; but remember that the keyboard view for all
the major scales has already been shown and it’s only a matter of starting these scales
on different notes
Mode 1
In this first mode (above) the intervals are 2 - 2 - 3 - 2 - 3. In the key of C major / A
minor (as shown here) the notes are: C - D - E - G - A - C.
Mode 2
In this mode the intervals are 2 - 3 - 2 - 3 - 2. In the key of C major / A minor (as
shown here) the notes are: D - E - G - A - C - D.
In this mode the intervals are 3 - 2 - 3 - 2 - 2. In the key of C major / A minor (as
shown here) the notes are: E - G - A - C - D - E.
Mode 4
In this mode the intervals are 2 - 3 - 2 - 2 - 3. In the key of C major / A minor (as
shown here) the notes are: G - A - C - D - E - G.
Mode 5
In this mode the intervals are 3 - 2 - 2 - 3 - 2. In the key of C major / A minor (as
shown here) the notes are: A - C - D - E - G - A.
The next few pages show the various modes to the major scales in the most used keys
for 2 octaves right-hand only. No key signatures have been included here, just the flats
or sharps as they appear.
As the intervals are different in each mode they will all have their own individual
sounds (similar to the difference between a major and minor scale), try to recognise
these.
I’ve not included any fingering guides as there will be many variations, but once
you’ve learnt all the major and minor scales thoroughly, fingering should not be a
problem.
Whether you learn any of the names or not, is immaterial unless you want to take any
of the Associated Board’s jazz exams in which case you need to know the Ionian;
Dorian; Lydian and Mixolydian in the most used keys for two octaves using both
hands.
But if you learn all the major scales starting and finishing on any note, then you’ve got
it!
I’ve not included these in keyboard view as I feel that once you’ve become thoroughly
familiar with the major scales (which have been shown in keyboard view) this will
simply be unnecessary.
Dorian on D (C major)
Phrygian on E (C major)
Lydian on F (C major)
Mixolydian on G (C major)
Locrian on B (C major)
Dorian on G (F major)
Phrygian on A (F major)
Lydian on BO (F major)
Mixolydian on C (F major)
Locrian on E (F major)
Dorian on A (G major)
Phrygian on B (G major)
Lydian on C (G major)
Mixolydian on D (G major)
Locrian on F# (G major)
Dorian on E (D major)
Phrygian on F# (D major)
Lydian on G (D major)
Mixolydian on A (D major)
Locrian on C# (D major)
Dorian on B (A major)
Phrygian on C# (A major)
Lydian on D (A major)
Mixolydian on E (A major)
Locrian on G# (A major)
Dorian on F# (E major)
Phrygian on G# (E major)
Lydian on A (E major)
Mixolydian on B (E major)
Locrian on D# (E major)
A Minor Arpeggio
E Minor Arpeggio
D Minor Arpeggio
B Minor Arpeggio
G Minor Arpeggio
F# Minor Arpeggio
C Minor Arpeggio
C# Minor Arpeggio
F Minor Arpeggio
G# Minor Arpeggio
BO Minor Arpeggio
D# Minor Arpeggio
Well that’s it folks, but finally and most importantly, I’d like to thank you kindly for
buying this book. It’s been my sincere desire to give excellent value for money with
this and all my books. I’ve worked long and hard to achieve this and hope that you
think I’ve succeeded.
If you’ve enjoyed this, your positive feedback (on Amazon, Nook, Kobo or Lulu etc.)
would be very much appreciated, thanks. Click here for Amazon.co.uk, or here for
Amazon.com.
Please feel free to contact me at http://learn-keyboard.co.uk/contact_us.html if you
have any queries. I’d be pleased to hear from you and I will always answer (unless
I’ve snuffed it), but please check your spam box just in case my reply goes amiss.
Download Link
The download link for the pdf printable version of this book is:
http://gonkmusic.com/scalesdl.html , but please honour my copyright and the hard
work I’ve put into this by using this for your own use only. Thank you!
Quick return link to introduction page.
If you have any trouble with the download link, I’ll be happy to assist.
Further Reading
You may also perhaps be interested in some of the following books, the details for
which can all be seen on my websites at http://gonkmusic.com and http://learn-
keyboard.co.uk .
• Learn How to Play Electronic Keyboard or Piano In a Week!;
• Learn How to Play Piano / Keyboard For Absolute Beginners: A Self
Tuition Book For Adults and Teenagers!
• Learn How to Play Piano / Keyboard By EAR! Without Reading Music -
Everything Shown in Keyboard View - Chords - Scales - Arpeggios etc.;
• New Easy Original Piano / Keyboard Music - Beginners - Intermediate;
• Learn How to Play Piano / Keyboard Chords - In Keyboard View Including
9ths and 13ths Etc.
If copying the links be sure to include the underscores between the words (where
applicable).
Beyond the books that I’ve written myself I can thoroughly recommend the following:
Free Software
I’ve messed with loads of music notation software, much of which is expensive and
very complicated. But ‘Melody Assistant’ is neither of these and the basic version is
free. Another excellent piece of free software is ‘Anvil Studio’ which is good for both
recording and music notation. Again, the basic version is free. And for recording only
and also free is ‘Audacity’.
• Melody Assistant - http://www.myriad-online.com/en/index.htm ;
• Anvil Studio - http://www.anvilstudio.com ;
• Audacity - http://audacity.sourceforge.net/download/windows .
This guide was produced using Melody Assistant, Corel Draw, Serif Draw Plus,
Microsoft Word, Serif Web Plus X8 and gallons of tea!
Best Regards,
Martin