Piano Accordion Cool

JAZZ
For individual or class instruction
READING, WRITING, RHYTHM
PRICE $21.25
Porter Music, Minneapolis, MN

This Book Belongs To______________________

My Teachers Name is______________________
I Began This Book ________________________
For verily I say unto you, That whosoever shall say unto this
mountain, Be thou removed, and be thou cast into the sea;
and shall not doubt in his heart, but shall believe that those
things which he saith shall come to pass; he shall have
whatsoever he saith.

FOREWARD
Playing PAC (Piano Accordion Cool ) Jazz Music on an ACCORDION is real fun. As you apply
the methods shown in this book, you will also experience an exhilarating lift as you play the
exciting rhythms, challenging chord harmonies and strong melodic lines of this uninhibited
idiom. Youll find the ACCORDION Basics of Reading, Writing, and Rhythm moving to the
classic ACCORDION. A number of supplementary pieces are included. When you completes
these pieces you are using THEORY in the most practical sort of way. After performing
the various required operations on these pieces, you will enjoy playing them as solos. This
will give the student a sense of having accomplished something really worthwhile.
The wonderful thing about PAC JAZZ as a style is that while its roots are traditional, it
MOVES WITH THE TIMES. The spark of the musicians improvisation can be felt when you
listen to recordings from the earliest Dixieland and the backwoods Traditional Gospel
hymns period up through the Big Band and Contemporary Gospel Style and the great solo
performances, and in many of the top Music groups of today. Currently, more than ever
before, the ACCORDION can be heard on many of the top TV shows and Movies, in the fine
arrangements and themes. Many fine ordinary people and gifted musician have contributed
invaluably to this spiritual musical revolution through the years and currently.
PIANISTS, STUDENTS AND TEACHERS should find this collection of pieces, or studies,
especially arrange to meet the beginners needs up through the easy-intermediate level of
playing, timely examples of ACCORDION, and suitable for the use as a SUPPLEMENTAL
AID in teaching or learning ACCORDION or for pure enjoyment in the popular sense. You
will learn excellent theory and unlocks the mysteries of the Accordion, which dates back to
the reed instruments of many Ancient civilization.

The accordion has a very rich history. The principle of the free reed appears to have had
its inception in Asia and after spreading there was subsequently introduced into the West
where it developed into such instruments as the harmonica, the accordion, the harmonium
and the free reed organ. 4 or 5 thousand years ago, a music instrument called "sheng" was
invented in China or somewhere in the south east Asia. In the first place, its reeds were
made of bamboo. After 18th century, Chinese "sheng" was imported to Europe. It gave
helpful hints for new free-reed instruments, such as harmonicas and accordions, to
western people. In 1820s, first accordions were made in German and Austria.
http://www.accordions.com/index/his/his.htm
The piano key board was first put on an accordion by Bouton of Paris in 1852. From that
time until the early 1900's the piano accordion was not given much attention or
development, but from 1910 onwards the piano accordion came into prominence almost
worldwide. With the development of the Stradella bass system (a standardization of the
bass button layout) the piano accordion became the first truly standardized universal
accordion. This means that a piano accordionist can play any type or make of piano
accordion without a change in system. This had not been possible before as there were so
many different button accordions with different systems. http://accordion.article-lib.com/

Piano accordions are essentially the same as a chromatic accordion, except for a different
shape to the keyboard notes and piano keyboard layout. Because of its universal note
system the production of piano accordions has far exceeded that of any kind of button
accordion from the 1920's until today.
We are used to hearing traditional African music based on percussion, but the accordion
was very popular between 1880 and 1940. The white missionaries probably introduced the
accordion into Africa, and much of the continent's music played with accordions is a
mixture of Christian hymns and Latin songs.
The popularity of the accordion was probably due to it's sturdy construction and
portability. But during the second world war, the guitar became fashionable (and many
other Western instruments) and the "old style" symbolized by the accordion lost favor.
Though many Africans played the accordion, few names are recorded. Most musicians were
only known to those living in the immediate vicinity, or perhaps the next village. However, in
each African country where the accordion has been popular, we can find at least one
celebrity. http://www.accordions.com/index/his/his_afr.shtml
Have fun, and I personally hope you might be inspired to go right out and grab an
ACCORDION and start the pleasure and satisfaction it will provide you all the rest of your
life, both in your playing and appreciation of all styles of music. It will be well worth your
effort. It can open your heart, mind, eyes and spirit to the word.

PAC JAZZ Practice Method

Introduction and overview of The PAC JAZZ Practice Method

Music means many things to many people. For some, it's simply recreation; for others it's deeply spiritual
and personal. It has the power to move the emotions and to excite the intellect--it communicates. In other
words, music is a language.
As with any language, we can read and recite what others have written. But we can also learn to express
our own feelings and ideas spontaneously, creating one of the most exciting and freeing forms of music:
improvisation. The musician who can improvise is both composer and performer, speaking his or her
ideas in his or her own voice. We all have a song in our heart that we want to express--something only
music can convey--and in that expression we can celebrate our own lives and our unique spirits.
When we listen to great jazz improvisers, it may seem that through some mysterious talent they are
effortlessly creating their own language on the spot. In fact, as free and spontaneous as it is, improvised
music relies on a definite vocabulary and follows certain rules of grammar and spelling. Where does the
aspiring improviser begin to learn this language?
"Connect the dots"
Most methods teach scales and licks that can be played against particular chords and chord progressions;
these patterns are then applied to different chords of a tune as a sort of decoration. For example, you may
learn a lick for a II-V chord pattern, memorize it in all 12 keys, then plug it in whenever you come across
that pattern.

While useful as far as it goes, this approach can lead to a mechanical sort of playing; the music sounds
like a string of stock phrases instead of a coherent statement. This stereotyped playing might be called
"connecting the dots."
This is not the sort of playing we hear from great improvisers. The best musicians create clear, original
melodies with a personal, distinctive style. They communicate memorable musical ideas. Of course, their
improvisations "fit" the chords--the players are well aware of the appropriate scales and devices available
to them. But instead of plugging in ready-made licks to "connect the dots", the greats sound like they're
spontaneously singing powerful, melodic lines through their instruments.
"Play what you hear and not what you know!"
That statement, attributed to Miles Davis, is an eloquent expression of true musical improvisation. It
means to hear and play the music that comes out of yourself and not out of books. The PAC JAZZ
practice method is aimed precisely at developing that goal.
The PAC JAZZ emphasizes the importance of the ear, since sound is the medium of musical expression.
This method is designed not only to help you understand, but also to hear, most of the typical musical
contexts within which you'll be expressing yourself.
By combining theoretical concepts with ear training and practical, efficient exercises, you will rapidly
grow in a well rounded way. Relative pitch perception, intonation, rhythm, chords, scales, harmony, and
melody are all developed together, rather than as isolated fields of study.
The result: players at all levels (beginning - advanced) can quickly move beyond playing by the dots and
on to creating freely, "speaking" their ideas in musical phrases and sentences.

The Three Stages of Learning Music

Ideas, Ears, Chops
The study of improvisation has three general stages:
IDEAS: The first stage is the conceptual understanding of musical structures (scales, chords, tonal
relationships, and notation of basic musical concepts). At a basic level, these concepts apply to all styles
of music, whether jazz, rock, or classical. Advanced studies investigate specialized theory and techniques
that are peculiar to different musical styles. This intellectual stage of learning, which is the usual fare of
music theory classes, is often the easiest.
EARS: The second stage, strongly emphasized in the PAC JAZZ approach, is the development of the
ear--that is, the ability to hear the theoretical concepts. Relative pitch perception is developed as you
practice. You will accelerate the learning process by singing (using numbers) everything you study:
scales, chords, progressions, etc. In this way you will build the skills needed to "play what you hear."
CHOPS: Finally, you will want to apply these concepts and sounds to the accordion. You will learn the
technical aspects of your instrument as you practice all scales, chords, musical structures, and
relationships in 12 keys. With well-chosen exercises (in the musician's famous "woodshed"), you will
memorize and master the basic sounds and begin playing the music as you hear it. And happily, the more
advanced you are technically, the more music you will be able to hear.
The PAC JAZZ approach systematically develops and integrates all three stages of learning music.
Theory, Practice Method and Key Reference Tools.

Workout in 12 keys
The PAC JAZZ is set up to develop technical and musical facility in all 12 keys focusing on 6 main keys
Eb, Bb, F, C, G, and D. This is painlessly accomplished by practicing in one key at a time. This simple
approach is not only easy, but very effective in learning new concepts rapidly while building your ear.
Using a midi program you can transpose these midi files to help in this process.
You'll review past exercises and play any new material in a different key each week. Twelve weeks after
you take on a new concept, you'll have played it--and all previous material--through all 12 keys. Your ears
and fingers will have become acquainted with the sounds and structures of scales, chords, melodic ideas-whatever you're working on--in relative terms. This flexible and effective routine enables you to build a
very solid foundation of performance skills while training your ears and strengthening your knowledge.
Your expanding Key Reference forms the backbone of your daily practice sessions--a continual
deepening and integration of music fundamentals--a true "workout" to keep you musically fit and
continually growing.
Long after you've progressed to using the entire library of midi files acompaniment each day, you can
keep improving, substituting advanced exercises to explore each musical concept further and stretching
your melodic techniques. The PAC JAZZ is a framework for consciously creating your own
improvisational style.
The PAC JAZZ encompasses a great deal of material. Start on the material appropriate to your level and
give yourself enough time to assimilate the ideas, sounds, and feel of each new musical concept. One of
the beauties of music is that there is no final goal to be attained, but a continuous mastery of technical
abilities and deepening of personal expression. The PAC JAZZ is a systematic, efficient "chops builder"
that can be used for years of increasingly sophisticated practice by students and professionals alike.
Begin playing now!
Even though the musical concepts become very advanced, the PAC JAZZ approach is also based on the
premise that you can begin to play your own ideas from the start of your study, rather than at the end.
From the very first practice session, players at every level--even beginners who are just becoming
comfortable with the major scales--will start to make up their own melodies and patterns spontaneously.
Any player who adopts the daily "workout" will soon notice a dramatic difference in the way he or she
hears and plays music. Rather than thinking of tunes and chord progressions as a series of isolated events
strung together, you'll perceive them as movements in tonality--movements triggering your own original
ideas. And you'll be able to express those ideas, to speak the language, to communicate.
Best of all-- it's FUN! It's fun to learn music, fun to grow musically and the better you get, the more
enjoyable and satisfying it becomes. Improvising music is not only a joy, but a continuing discovery of
our spiritual source and our own individual worth. Send me a midi copy of your work.

MERITS OF THE ACCORDION

Ease of Learning
Single note bass and fixed chord buttons make for very fast and easy learning of bass and
rhythm accompaniment. With the visible right hand keyboard, the accordion is easy to learn.
Education, General Academic Improvements
By learning the accordion, students learn how to organize their time for practice. They will
automatically apply this skill to other aspects of their education. Research has shown that
people who learn music early in life achieve better academic results.
Self Confidence
Any time a person achieves something new their confidence in themselves increases.
Introduces Self Discipline and Motivation
These attributes are learned through practice and achievement, and with the help of the
teacher.
Problem Solving
To be able to play music one learns how to concentrate on a problem and find the best
solution.
Concentration
As progress is made through musical education the ability to concentrate increases. With
increased concentration comes improved memory skills.
Coordination
Playing the accordion requires coordination. Not only do players use both hands, but the left
arm operates the bellows while the player reads music. As difficult as this sounds, a student
can learn to play a piece of music in their first lesson.
Creativity
The accordion is an incredibly versatile instrument. Not only can it play most musical styles,
it is also very good for improvisation. She can sing a chorus by herself, as well as the piano.
She can also weep, as well as the violin. Solo, ensemble, either will do.
Job Opportunities
There is the potential to teach or entertain full time with the accordion.
Being Part of a Team
Because the accordion is such a portable instrument, it is used in many types of musical
groups, from rock bands to orchestras.
Tuning
The reeds are fixed in tune for each individual accordion, but can be made higher or lower
(by a trained repairer) to suit the preferred sound of the player.
Mobility
You can enjoy it anywhere. In your bedroom, on the mountain, in the ship, and so on.
Music Appreciation
It is easier to appreciate and enjoy music if one understands how music is structured.

TREBLE KEYBOARD
Of the 120 Bass Accordion

&

TREBLE CLEF SIGN or

G CLEF SIGN
MEANS PLAY ON
TREBLE KEYBOARD

Accordion Music
For the treble side of the
accordion, music is
written in the treble clef.

&& & & & &

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

KEYBOARD REGISTER
Register Slides
These are thin strips of metal, that slide in between the reed banks and the valves. They
are designed to open and shut the banks of reeds. A mechanism connects these slides to
the switches.
The function of a Switch is to open or close one or more sets of reeds, via register slides
in the reed blocks. The more reeds in an accordion, the more switches become available.
There are two types of Treble switches that are on the Treble grille: the automatic and
the On/Off (push once for On and again for Off). Each push button of the automatic
switch opens specified slide registers and closes others (according to the setting of the
combination of reeds, see below).
Most full-sized accordions are now equipped with one or more Bass switches on the bass
section also. These are normally in a vertical row, along the inside of the bass board. As
with treble switches, there are two types; automatic and on/off. The automatic type of
switch is sometimes called a pre-set switch, and it involves a great deal more mechanism
than the simple on/off type lever switch. There can also be switches located near the air
button.

Note: Both Treble and Bass Switches are arranged in different orders on different
makes of accordions.
This Quint Switch is usually only found on larger accordions. The individual incorporation
of the perfect 5th (which is actually a 12th; an octave higher plus a 5th higher again) to
every note on an accordion, giving a Pipe-organ type sound. This especially suits Russian or
Pipe Organ music.

TREBLE KEYBOARD REGISTER

The following treble shift markings are used in this book. Substitutions listed below may be
used, or any other appropriate shift the teacher may recommend.

SUBSTITUTE
MASTER

HARMONIUM

MASTER

BANDONEON

ACCORDION

BANDONEON

VIOLIN

CLARINET

OBOE

CLARINET

The registers or stops used in both the left and right hand sides could be marked using
either similar sounding instrument names or using dot markings and organ terminology.
A combination of instrument names and dot markings is also common.

ABOUT REGISTERS

There's no single standard for naming the stops using instrument names. Its
recommendable to use dot markings in sheet music and in order to communicate the
correct setting to an ensemble.
The maximum number of reeds that are used simultaneously when pressing a single key
on the treble side, determines the maximum number of stops. The same applies to the
bass stops when producing a single bass note or a note used to construct a chord.
The theoretical maximum number of registers or stops is 2^N-1, where N is the
maximum number of reeds used simultaneously for a note. The -1 covers the case when
no reed is sounding at all - a meaningless combination. Examples:
N = 1 : Only 1 stop - no need to have a button for this!
N = 2 : 3 stops
N = 3 : 7 stops
N = 4 : 15 stops
N = 5 : 31 stops
N = 6 : 63 stops (this beast would be really heavy!)
N = 3 or 4 is most common and I've never seen an accordion with N > 5.
In practice the number of stops is usually reduced from the theoretical maximum. This
is done in order to reduce weight. Too many stops could also be confusing and some of
them would sound very similar to each other. Most players use a few favorite stops only.

Most full-size accordions have four sets of treble reeds, and some have five. With various
combinations of these there can be fifteen or more switches on the grille. Each select a
different combination of reeds by opening and closing slides.
For example, these are the combinations available with automatic switches on a three reed
accordion:
1. LOW

MIDDLE

HIGH

2. LOW

MIDDLE

--

3. LOW

--

--

4. LOW

--

HIGH

5. --

MIDDLE

HIGH

6. --

MIDDLE

--

7. --

--

HIGH

ABOUT REGISTERS
The most common dot markings are built upon combinations of the
following basic elements:
PICCOLO

4 ft - The length of an organ pipe sounding one

octave above the notated value
8 ft - The length of an organ pipe sounding at the
notated value

BASSOON

16 ft - The length of an organ pipe sounding one

octave below the notated value

The 8 ft may have two or even three different reeds, tuned

slightly apart. Used together, the famous musette sound is
produced. Depending on the tuning distance, the tone is "wet or
dry" . Possible dot markings:

or

ACCORD

HARMON

BANDON ORGAN

or

MASTER

or

VIOLIN

MUSETTE

CLARINET

This means that on a 4 reed accordion only

uses 11 of the 15 possible combinations
with N = 4 - these are left out:

OBOE

&

C D E F G A B
1 2 3 4 5 6 7

E is
on
the
right
of
any 2
REDkey
A is between 2nd
and 3rd on of any 3
black-key

D is on the middle
of any 2 RED-key

Ab
G#

Gb
F#

F is
on
the
left
of
any 3
RED
-key

3 4

Bb
A#

Eb
D#

Db
C#

C is
on the
left of
any 2
REDkey

There are 12 different treble

notes in music. 7 white and 5
black notes. The names are
the 1st 7 letters of the
alphabet ( a thru g ).

Name those 7 treble white keys

B is
on
the
right
of
any 3
RED
-key

G is between 1st and

2nd on of any 3 REDkey
Play each note while singing
the name. Repeat this each
practice session until you have
fully memorized. This is the
Key of C.

HALF & WHOLE STEPS

A HALF STEP (or semitone) is the distance from any treble key to the very next key,
right or left, red or white and are adjacent on the piano keyboard. NO KEY IN
BETWEEN.

HALF STEP

HALF STEP

HALF STEP

A WHOLE STEP (or tone) is equal to two HALF STEPS. ONE

KEY IN BETWEEN.

WHOLE STEP

WHOLE STEP

WHOLE STEP

chromatic half-step -- a half step written as two of the same note

with different accidentals (e.g., F-F#)
diatonic half-step -- a half step that uses two different note
names (e.g., F#-G)

&

Natural

Sharp

Sharp

F#

Natural

F#

Chromatic half-step

Diatonic half-step

The Accordian Grand Staff

THE TIME SIGNATURE:
Upper number
indicates 4
counts in each
measure

RIGHT
HAND

Chord
Bass
LEFT
HAND

&

USED AT
THE END
OF A
PIECE OR
A
SECTION

Lower number
indicates that a
QUARTER NOTE
gets one count.

4
4

?4

Measure
Grass
Eat
Cows
All

spaces

Double
Bar Line

G
E
C
A
F
D

F
D
B
G
E

Measure
C

Measure

B
G
E
C
A
F

A
F
D
B
G

Always
Fine
Does
Boy
Good

Fine
Does
Boy
Good
Every

lines

Bar
Line

Bar
Line

(G Clef) spaces are:

&Treble Clef
F A C E
(G Clef) lines are:
&Treble Clef
Every Good Boy

Bass Clef (F Clef) spaces are:

All

Cows

Eat

Bass Clef (F Clef) lines are:

Good

Does

Fine

Grass

Boy Does Fine

Always

The Accordian Grand Staff

Ledger Lines extend the staff in the open space above, below and
within the Grand Staff.
Music has numbers at the beginning called the Time Signature.
The TOP NUMBERS tells the number of beats in each measure.
The BOTTOM NUMBER tells which note get one count.

&
Chord
Bass

D
B
G

4
4

?4
4

A
F

RIGHT
HAND
G
E

F
D
B

G
E

A
F

D
B
G

LEFT
HAND
F
D
B

Treble Clef (G Clef) Spaces are: F A C E

Treble Clef (G Clef) lines are: Every Good Boy Does Fine
Bass Clef (F Clef) spaces are: All Cows Eat Grass
Bass Clef (F Clef) lines are: Good Boy Does Fine Always

You
complete
this staff.

Chord
Bass

&
?4
4
4

&# b

Enharmony
The ability to
write the same
note in more than
one way is called
enharmony. F#
and Gb are
enharmonic.

Gb

F#

Accidentals

b
&

Sharp

Ab

A#

Natural

Flat

An alphabetic letter is
flat, natural or sharp.
Its state (flat, natural
or sharp) is its
accidental. The natural
state is what the note
is considered to be,
unless otherwise
indicated. Ab (flat) is a
semitone (1/2 half)
lower than A natural.
A# (sharp) is a
semitone (1/2 half)
higher than A natural. 4

A word on notation. In text the accidental follows the letter, as in

Ab and A#. On the stave the accidental precedes the note head.

SHARPS = HALF STEP UP!

F#

D#

&

B#

HALF STEP UP!!!

A SHARP ( r )RAISES the note a half step (semitone).

Play the next key to the RIGHT.

Write the name of each SHARP in the square above each key indicated:

Gb

Eb

b
D

&

Cb

FLATS = HALF STEP DOWN!

HALF STEP DOWN!!!

A FLAT ( ) LOWER the note a half step. Play the next key
to the LEFT.

Write the name of each FLAT in the square above each key indicated:

THE NATURAL SIGN

b n

E E

b n

HALF STEP UP!!!

A NATURAL ( ) CANCELS a previous

A natural is ALWAYS A WHITE KEY.

or .

b n
D

&

Watch your step!

C# is Db. Is E# Fb? Remember, C to D is a tone (whole step) and E to F is a semitone (half

step). While C# is Db, E# is F and Fb is E. Beginners and advanced students often trip-up
on this fact.

Take the the note below and place them on the Treble Key Board above.

Gbb
Fbb
Abb
Cbb
Ebb
Bbb
Dbb

Gb
Fb
Ab
Cb
Eb
Bb
Db

G
F
A
C
E
B
D

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

Gx
Fx
Ax
Cx
Ex
Bx
Dx

A#
Ax
Bb
Cb
Cbb

G#
Gx
Ab
Bbb

F#
Fx
Gb
Abb
Ex
G

E#
Gbb

D#
Dx
Eb
Fb
Fbb

C#
Cx
Db
Ebb
Bx

B#
Dbb

Did you get them right?

As enharmony, C, B# and Dbb are enharmonic. Notice the other enharmonics.

Double flats and double sharps

Double flats and double sharps are accidentals for special occasions. A double flat is a
semitone lower than flat. A double sharp is a semitone higher than sharp.

Note
#

1
2
3
4
5
6
7
8
9
10
11
12

Double
flat

bb

Fbb
Cbb
Dbb
Ebb
Gbb
Abb
Bbb

flat

Db
Eb
Gb
Ab
Bb
Fb

Cb

natural

C
D
E
F
G
A
B

sharp

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

Double
sharp

x
Bx
Ex

Cx
Dx
Fx
Gx
Ax

This is a complete set of accidentals and their enharmonic equivalents

The Three T's of Music

An interesting and instructive way to understand the experience of music is based on
observing three different dimensions of human communication. We'll refer to these three
qualities as the Three T's of music. They are; TONE --the emotional dimension, TIME -the physical dimension, and TUNES --the intellectual dimension. These different aspects
are present in all types of music, individually emphasized in varying combinations. Other
artistic disciplines refer to the Heart, Head, and Hands trilogy, which is analogous to the
Three T's of music. As we learn to improvise music, we'll want to develop our skills within
each of these dimensions. PAC Jazz is a full brain activity.
The life of the accordion is in the rhythmic base and chord accompaniment. The melody or
lead is delivered via the treble. We will spend a lot of time using the Three Ts of the
accordion.
TONE: Feelings (Heart)
The first dimension Tone , conveys mood and emotion. Tone denotes the whole spectrum of
sound quality such as sense of intonation, dynamics, texture, intensity, color, and
expressiveness--the depth of feeling a musician puts into the music. Tone production on
any given instrument separates the professional from the amateur players. The ability to
communicate emotion with even one note is essential to the development of a performing
musician.
Even though this aspect will take years for the musician to develop deeply, it immediately
communicates to even the most casual of listeners. This dimension involves the "right" or
intuitive side of the brain--the non-verbal or "hearing" essential to the musical arts.
Vocalists often exemplify this aspect to a great degree.
TIME: Energy (Hands)
The second dimension Time , the rhythmic sense, is felt through our material bodies. Time
refers to all aspects of the rhythmic energy and pulse-- our sense of "groove", meter,
tempo, rhythmic styles (i.e. swing, rock, etc.), articulation, and sense of melodic phrasing.
Dance music of all kinds relies on this physical aspect of musical communication to a high
degree. Mastering the dimension of time is an indispensable necessity for all performing
musicians.
While mistakes with notes or intonation may not be readily noticed, mistakes with time are
usually very conspicuous. We all, well most of us, intuitively respond to rhythm. This
dimension may be the most basic and important element of music and accounts for the
drums being the oldest form of instruments.
Time also seems to involve the "right" side of the brain as well as the actual motor skills
of playing an instrument. Like Tone , the finer points of Time are developed over many
years, although it is a quality immediately perceived by listeners of all degrees of musical
sophistication.

Integrate the Three T's

A complete musician communicates through the mastery and integration of each of these
basic dimensions--emotional, physical and mental. Development of the performance skills
Tone and Time , take much attention and practice. These subtle qualities are often the
most important in music precisely because they involve communication at the non-verbal
levels. Tunes , on the other hand, can be viewed as the theoretical and conceptual
framework in which the player must express these other qualities.
A common problem facing all students of musical improvisation is the integration of the
"left" (thinking) and "right" (hearing) sides of the brain. Like oil and water, we tend to
operate on one side or the other.Through regular and focused practice however, it is
possible to gain the necessary ability to use both sides simultaneously. What makes the
incredible prowess of top musicians possible is their ability to be aware of and handle all
these factors simultaneously as the music unfolds. Learning to improvise is really a
fascinating exercise in overall mind and body development.
Different styles of music can be understood more easily by using the concept of the
Three T's . Rock, for instance, could be seen to be primarily rhythmic in nature and
communicates at the Time or body level. Blues might be seen to be primarily Tone or
emotional in nature. Jazz or classical music could be viewed as emphasizing Tunes , or the
intellectual aspect of musical communication.
Each style of music succeeds by communicating well through its primary dimension. This
perspective helps us understand the different roles music plays in our life and can help us
appreciate (and play) all styles of music with insight and empathy.
Obviously there is no clear separation of these three qualities in good music, and the best
performers of any style show a high level of mastery of all Three T's . Think about your
favorite musicians and how and what they communicate to you.
When practicing to improve your musical skills, you will benefit by being aware of the
Three T's , and insuring that each aspect is being given attention. It is not just what you
play, but how you play it that counts. The PAC JAZZ Improvisation Practice Method is
one approach designed to develop and integrate all Three T's into a unified method.

BASS KEYBOARD
Of the 120 Bass Accordian

BASS CLEF SIGN

MEANS PLAY ON
BASS KEYBOARD
(BASS OR CHORD ROWS

Chord
Bass

Accordion Music
The bass is written in the bass clef, except for
stradella bass chord. Instead of writing out the
whole chord, the chord symbol is written over
the note:
M over the note = Major chord, (mellow)
m over the note = minor chord, (mysterious)
7 over the note = 7th chord, (sweet)
d

OR

o over the note = diminished chord (edgy)

Bass rows

Ecb
C

Counter Bass row

Bass row

Chord rows
CM

Major chord row

1, 3, 5; C, E, G

Minor chord row

cm 1, -3, 5; C, Eb, G

40
Bass

80
Chords

Cx

A# A#M A#m A#7 A#o

Fx

D# D#M D#m D#7 D#o

B#

G# G#M G#m G#7 G#o

E#

C# C#M C#m C#7 C#o

A#

F#

F#M F#m F#7

F#o

D#

BM

Bm

B7

Bo

G#

EM

Em

E7

Eo

C#

AM

Am

A7

Ao

F#

DM

Dm

D7

Do

GM

Gm

G7

Go

CM

Cm

C7

Co

FM

Fm

F7

Fo

Bb BbM Bbm Bb7 Bbo

Eb

Ab AbM Abm Ab7 Abo

Db DbM Dbm Db7 Dbo

Bb

Gb GbM Gbm Gb7 Gbo

Eb

Cb CbM Cbm Cb7 Cbo

Fb

EbM Ebm Eb7

Ebo

Fbo

c7

7th chord row

Ab

1, 3, -7 (no 5th), C, E, Bb (no G)

Db Bbb BbbMBbbm Bbb7 Bbbo

co

Diminished 7th
chord row

1, -3, --7 (no -5th), C, Eb, Bbb

(no Gb)

FbM Fbm Fb7

Left Hand

Rhythm Pattern
The Accordion Rhythm is usually (not always) played with
the Bass - Chord Combination.

G#

DM

F#

GM

CM

FM

BbM

Bb

?4

AM

C#

Alternating Bass
To play this, a root note (fundamental) is played, then a chord of
that root note, followed by the fundamental dominant (5th) of the
root note, and back to the chord of the root note. A simple
example is: C, C Major, G, C Major.

EM

Em
Am
Dm
Gm
Cm
Fm
Bbm

Eo

E7

Ao

A7

Do

D7

Go

G7

Co

C7

Fo

F7

Bbo

Bb7

Left Hand

:
1 2 3 4 1 2 3 4
C CM CM CM G CM CM CM

1 2 3 4 1 2 3 4
C CM CM CM G CM CM CM

?C

:
1 2 3 4 1 2 3 4
C Cm Cm Cm G Cm Cm Cm

1 2 3 4 1 2 3 4
C Cm Cm Cm G Cm Cm Cm

?4

:
1 2 3
C C7 C7

Left Hand

G#
C#
F#
B
E
A
D

E
A
D
G
C
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

1 2 3
C C7 C7

1 2 3
G Cd Cd
Left Hand

Eo
Ao
G#
Do
C#
Go
F#
Co
B
Fo
E
Bbo
A
D

E
A
D
G
C
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

1 2 3
G Cd Cd
Left Hand

Eo
Ao
G#
Do
C#
Go
F#
Co
Fo
Bbo

B
E
A
D

E
A
D
G
C
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

Eo
Ao
Do
Go
Co
Fo
Bbo

Rhythm Pattern
E

G#

C#

F#

The Accordion Rhythm is

usually (not always) played with
the Bass - Chord Combination.

A
D

6
?8

Bb

EM
AM
DM
GM
CM
FM
BbM

Em

Ao

A7

Am

Do

D7

Dm

Go

G7

Gm

Co

C7

Cm

Fo

F7

Fm
Bbm

Eo

E7

Bbo

Bb7

:
1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3 4 5 6

2
?2

:
1

&

&

&

&

&

&

&

&

?C
1

:
&

Left Hand

G#
C#
F#
B
E
A
D

E
A
D
G
C
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

&

&

&

Left Hand

Eo
Ao
G#
Do
C#
Go
F#
Co
B
Fo
E
Bbo
A
D

E
A
D
G
C
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

&

&

&

Left Hand

Eo
Ao
G#
Do
C#
Go
F#
Co
B
Fo
Bbo

E
A
D

E
A
D
G
C
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

&

Eo
Ao
Do
Go
Co
Fo
Bbo

Accents Pattern
This is when the player suddenly pulls on the bass strap or pushes on the side of the bass
board with his/her arm while pressing a note, which creates a short sharp sound. Good coordination is required to get the timing of an accent exact.

?4

:
1

Bellow Shakes
The bass arm pulls quickly in and out causing a "stuttering" effect. There are many types
of bellow shakes, which give different effects:
Duple Bellow Shake
In the space of a beat, a note is sounded twice. The duple bellow shake is played by
creating a "hinge" with one side of the bellows and only opening the bellows from the
opposite side.

4
?4

X
1

&

X
2

&

&

X X X X X X X

&

1 & 2 & 3 & 4 &

Triple Bellow Shake

In the space of one beat, a note is sounded three times. The bellow movement is In,
Out, In and vice versa. This can take a lot of co-ordination to get the feel of the rhythm
because the pulse (the first in or out) changes bellows direction every time.

4
?4

X X

X X

X X

X X

--2--3--4--

X X X X X X X X X X X

--2--3--4--

Accents Pattern
Quadruple Bellow Shake
In the space of one beat a note is sounded four times. The bellow movement is In, Out,
In, Out. This bellows shake can sometimes be played using the four corners of the
bellows, where the bellows are moved in a circular motion, creating the feeling of four
counts. This, however takes a long time to learn!

?4

XXX

XXX

XXX

XXX

-&- 2 -&- 3 -&- 4 -&-

XXXXXXXXXXXXXXX

- - - - - - - -

1 & 2 & 3 & 4 &

Get creative and make your own.

4
?4

4
?4

?4

Converter Bass
This is a bass system which can play both standard and free bass, by using the Bass
Switches. An accordion with a converter bass is possibly the most versatile accordion
available.

REVIEW OF NOTE VALUES

A HALF NOTE
gets TWO
counts

h.

A HALF REST
gets TWO counts

A QUARTER NOTE
gets ONE count.

HOW MANY COUNTS?

A DOTTED HALF
NOTE gets
THREE counts.

A DOTTED
HALF REST
gets THREE
counts.

A QUARTER REST
gets ONE count.

A WHOLE NOTE
gets FOUR counts

A WHOLE REST
gets FOUR counts

A EIGHTH
NOTE gets ONE
HALF of ONE
count.

In the square below each note, write the number of counts

that each receives.

The MAJOR SCALE

ON THE TREBLE KEYBOARD
A Major Scale is a series a EIGHT notes in ALPHABETICAL ORDER. The two tetrachords
for the C major scale are : (major tetrachord) C - D - E - F <- tone -> G - A - B - C (major
tetrachord). A MAJOR TETRACHORD is a series of FOUR NOTES IN ALPHABETICAL
ORDER having a pattern of WHOLE STEP - WHOLE STEP-HALF STEP.

1
2ND MAJOR
TETRACHORD

1ST MAJOR
TETRACHORD

&

G A B C

C D E F
1
1
TONIC

1
1/2

1
1/2
TONIC

WHOLE WHOLE HALF

STEP STEP STEP

WHOLE WHOLE HALF

STEP STEP STEP

The MAJOR SCALE

ON THE BASS KEYBOARD
You have already played the C MAJOR SCALE. A TETRACHORD is a series of FOUR
NOTES IN ALPHABETICAL ORDER having a pattern of WHOLE STEP - WHOLE STEPHALF STEP. Each major scale has the exact same fingering on the bass keyboard, making
it such that once you know one scale, you know them all. Piano accordions usually range
from 12 bass, 20 key up to 160 bass, 45 key, but there are smaller and larger designs
also. Multiple Reed Banks combined with switches give the piano accordion a huge range
of notes and sounds. Reed Specifications can be: 2, 3, 4, 5 or 6 treble reeds and 4, 5, 6, 7
or 8 bass reeds.

Chord
Bass

2ND MAJOR
TETRACHORD

1ST MAJOR
TETRACHORD

F G

F#

C
B
E

1
1
TONIC

1/
2

1
1/
2
TONIC

D
7
3
6

G
C
F

2
5
1
4

To begin, place your 3rd finger on the root bass note. The second note of the scale is the
D and is played by the index (2nd) finger. The third of the scale, E, is played by your 3rd
finger by extending the finger which should still be in the area of C to the counterbass
row. After E, of course is F. This is played by the 4th finger and is the root note directly
below C. The index (2nd) finger plays the G, the root note directly above C. Then the 4th
finger stretches from the F to its counterbass A. Finally the index (2nd) finger plays B,
the counterbass of G. As the final note, your 3rd finger plays C again. The process is
reversed on the descending part of the scale using the same fingering.

The CHROMATIC SCALE

ON THE BASS KEYBOARD
To begin, place your 4th finger on the C root bass note. The second note of the scale is
the C# the counterbass of A and is played by the 3rd finger. The third note of the scale
is the D and is played by the 3rd finger . The fourth note of the scale is the D# the
counterbass of B and is played by the index (2nd) finger. The fifth note of the scale is
the E and is played by the index (2nd) finger. Thats the 1st cycle.
To begin cycle 2, place your 4th finger on the 6th note of the scale or F just below the C
root bass note. The 7th note of the scale is the F# the counterbass of D and is played by
the 3rd finger. The 8th note of the scale is the G and is played by the 3rd finger . The
9th note of the scale is the G# the counterbass of E and is played by the index (2nd)
finger. The 10th note of the scale is the A and is played by the index (2nd) finger.
To begin cycle 3, place your 4th finger on the 11th note of the scale or Bb just below the
F bass note. The 12th note of the scale is the B the counterbass of G and is played by
the 3rd finger. As the final note, your 4th finger plays C again. The process is reversed
on the descending part of the scale using the same fingering.

D# 4
G# 9

B 12
E 5

C# 2

F# 7
B 12

D 3 Chord
8
G
Bass
1
C
6
F
Bb 11

E
A
D

10

C C# D D# E

TONIC

F F# G G# A A# B C

TONIC

The Chords

on THE BASS KEYBOARD

This note
means
CM Chords
( C,E,G )
Notes Written
Above The
(GREEN) Middle
Line Are

Chords
Notes Written
Below The
(Green) Middle
Line Are

Bass

CM cm

c7

co

Chord rows
chord row
CM Major
1, 3, 5; C, E, G

cm

Minor chord row

c7

7th chord row

co

Diminished 7th chord row

1, -3, 5; C, Eb, G

1, 3, -7 (no 5th), C, E, Bb (no G)

1, -3, --7 (no -5th), C, Eb, Bbb (no Gb)

Mellow

m Mysterious
7
o

Sweet
Edgy

Bass Techniques
on the Accordion

Bass Techniques
on the Accordion
Accordion Bass fingering is a very important part of play the bass
and chords. Normally, the bass plays only simple beats of bass,
chord, counterbass, chord, bass, chord, fifth above, chord. This
would be the standard rhythm for most 4/4 polkas. Fingering say
on C-major on the keyboard varies from accordionist to
accordionist depending on the finger lengths, but generally, most
adults tend to place their fourth finger on the bass notes and the
third finger on the chords. When reaching over to the
counterbass, the accordionist would stretch their fourth finger
over to it, which in this example would be E. For playing the fifth
above bass note, the index finger almost naturally reaches for the
G in this example due to the angle that the notes are arranged on
the keyboard.
In a waltz time, 3/4, the same fingering rules as above applies.
There is rarely a fingering difference in simple bass, chord, chord
timing. Some interesting things that your bass can do involves
more independent use of your fingers.
While this seems very complex on paper, essentially after a bit of
practice, you are able to effortlessly play any scale on the bass
keyboard of the piano accordion. Minor scales, both melodic and
harmonic illustrate the same patterns.

Chord
Bass

?44

cb
C CM E CM

3 4 3

C CM G CM

3 2 3

GM Gm

G7

Go

CM

Cm

C7

Co

FM

Fm

F7

Fo

Bb BbM Bbm Bb7 Bbo

Eb EbM Ebm Eb7 Ebo

Bass Techniques
on the Accordion
Once comfortable with the major scales on the bass hand, it is
easy to simply throw in bass runs during songs. Two methods I
use often is when changing from C to F for instance in a polka, in
a major key, I do a bass run pressing C, B flat, A, G and then to F
for the second measure, all notes keeping to the beat. The bass
run starts just before the appearance of F and generally works
well in polka styles. The run is reversed if moving up the
keyboard.
C CM Ecb CM C Bb Acb G
F FM Bb FM

Chord
Bass

?44

t
4

4 3 2

3 4 3

?44 t

F FM Bb FM

Chord
Bass

t
3

G Acb Bb

4 3 2 3
C CM Ecb CM

4 3 2 3

4 3 2

GM

Gm

G7

Go

CM

Cm

C7

Co

FM

Fm

F7

Fo

Bb

BbM Bbm Bb7

Bbo

Eb

EbM Ebm Eb7

Ebo

3 4 3

Bass Techniques
on the Accordion

While this seems very complex on paper, essentially after a bit

of practice, you are able to effortlessly play any scale on the
bass keyboard of the piano accordion. Minor scales, both melodic
and harmonic illustrate the same patterns.
In the waltz style, a bass run can similarly be executed. If
moving from C to F, for instance, one could simply press C, D, E
and then F in the second measure. This again occurs just before
the measure that has F in it and all notes keep directly to the
beat.
One instance of the use of the fifth finger in accordion music is
when playing a counterbass in a minor key. For instance, if
playing D minor in 3/4 time, you would be playing D root note, D
minor chord note, D minor chord note with fingering 4-2-2. In
the key of D minor, playing the third note doesn't mean playing F
sharp, but playing F natural. The easiest way to press F natural
is to take the fifth finger and play the F root note below C. To
keep things feeling natural and the playing smooth there is a
fingering change as well. In the measures playing: D-Dm-Dm-FDm-Dm, the respective fingering would be 3-2-2-5-2-2.

4
4

:
1 2 3
D Dm Dm
3 2 2

1 2 3
F Dm Dm
5 2 2

1 2 3
D Dm Dm
3 2 2

1 2 3
F Dm Dm
5 2 2

Reading: Alternating Basses

G#

EM Em

E7

Eo

C#

AM Am

A7

Ao

F#

DM Dm D7

Do

GM Gm G7

Go

CM Cm

C7

Co

FM Fm

F7

Fo

Any BASS note may be used ALTERNATELY with

the BASS just ABOVE it, while the CHORD remains
the SAME. This style of playing is called
ALTERNATING BASS.

Chord
Bass

Bb BbM Bbm Bb7 Bbo

Eb EbM Ebm Eb7 Ebo

C and G Basses
used alternately
(every other time).

C Major Chord
remains the same.

The Alternating Bass of any Bass is the

Next Bass Button Above it.
The Alternating Bass of C is G.
The Alternating Bass of G is D, etc.
Write the name of the BASS in the square above each bass note.

t
t

4
4

G#
C#
F#
B
E
A
D

E
A
D
G
C
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

Eo
Ao
Do
Go
Co
Fo
Bbo

Playing the Bass

Major Chord
(if C Major)
Em

EM
G#
C#
F#
B
E
A
D

E
A
D
G
C
F

Am

AM

Dm

DM

Gm

GM

Cm

CM
FM
BbM

Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

Eo
Ao
Do
Go
Co

EM
G#
C#
F#

Fo

Bbo

E
A
D

Bb

E
A
D
G
C
4
F

G#

C#
F#

Bb

E7
EM Em
A7
AM Am
D7
DM Dm
G7
GM Gm
C7
CM Cm
F7
FM Fm
Bb7
BbM Bbm

GM

Ao

G#

Do

C#

Go

F#

Co

Fo

Bbo

A
D

CM
3

Fm
Bbm

Bb

G#

C#

F#

Bb

E7
EM Em
A7
AM Am
D7
DM Dm
G7
GM Gm
C7
CM Cm
F7
FM Fm
Bb7
BbM Bbm

E
A

Ao

G#

Do

C#

Go

F#

Co

Fo

Bbo

A
D

D
G
C
4
F

G#

C#

F#

Bb

E7
EM Em
A7
AM Am
D7
DM Dm
G7
GM Gm
C7
CM Cm
F7
FM Fm
Bb7
BbM Bbm

Ao

G#

Do

C#

Go

F#

Co
Fo
Bbo

B
E
A
D

D7

Dm

G7

Gm

C7

Cm
2

CM

F7

Fm

FM
BbM

Co
Fo
Bbo

Bbm

Bb7

G#
C#
F#
B
E
A
D

E
A
D
G
C
1
F
Bb

A7

EM Am
AM Dm D7
DM Gm G7
C7
GM Cm
2 Fm F7
CM
Bb7
FM Bbm

Do
Go
Co
Fo
Bbo

G#
C#
F#
B
E
A

Fingering

E
A
D
G
C
1
F
Bb

Ao
Do
Go
Co
Fo
Bbo

Order
(if any Major)
Beat>>
4/4 >>
3/4 >>
2/4 >>

pattern
1,2,2,2
1,2,2
1,2

BbM

Eo
Ao

Eo

E7

Em

EM

A7

Am

AM

D7

Dm

DM

G7

Gm

GM

C7

Cm
2

CM

F7

Fm

FM
BbM

Bbm

Bb7

Eo
Ao
Do
Go
Co
Fo
Bbo

Order
(if any Minor)
Beat>>
4/4 >>
3/4 >>
2/4 >>

pattern
1,2,2,2
1,2,2
1,2

(if any Minor)

E
A
D
G
C
4
F

AM
DM
GM
CM
FM
BbM

Bb

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
2
F7
Bb7

Eo
Ao
Do
Go
Co
Fo
Bbo

Fingering

G#
C#
F#
B
E
A
D

E
A
D
G
C
1
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
2
F7
Bb7

Eo
Ao
Do
Go
Co
Fo
Bbo

Order
(if any 7th)
Beat>>
4/4 >>
3/4 >>
2/4 >>

pattern
1,2,2,2
1,2,2
1,2

(if any 7th)

EM

Eo

A7

Am

GM

Bb

E7

Em

DM

Diminished Chord
(if Co)

Bb7

Go

Fingering

AM

EM

Eo

F7

Do

E7

Em

Ao

(if any Major)

7th Chord
(if C 7th)

C7

Cm

EM

Eo

G7

Gm

Minor Chord
(if C Minor)

D7

Dm

DM

BbM

A7

Am

AM

FM

E7

Em

Eo

E
A
D
G
C
4
F
Bb

AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

Eo
Ao
Do
Go
C2o
Fo
Bbo

Fingering
(if any dim.)

G#
C#
F#
B
E
A
D

E
A
D
G
C
1
F
Bb

EM
AM
DM
GM
CM
FM
BbM

Em
Am
Dm
Gm
Cm
Fm
Bbm

E7
A7
D7
G7
C7
F7
Bb7

Eo
Ao
Do
Go
C2o
Fo
Bbo

Order
(if any dim.)
Beat>>
4/4 >>
3/4 >>
2/4 >>

pattern
1,2,2,2
1,2,2
1,2

Playing the Bass

Fingering

>>>>
>>>>

Order

JAZZ
RUN

4/4 beat
1,2,3,4,5,4,3,2
(REPEAT)

(in Key
of C)

Fingering

Order

2/4 beat
1,2,3,2
(REPEAT)

(in Key of
C)

Fingering

Major
Scale

>>>>
>>>>

Order

(in Key of C)

4/4 beat
1,2,3,4,5,6,7,1
(REPEAT)

(in Key
of C)

Fingering

4
steps
Run

Order

(in Key of C)

::::

2/4 beat
1,2,3,4
(REPEAT)

(Starting
with C)

Fingering

(Starting
with C)

(in Key of C)

:. < :. <

Cowboy
Run

8
steps
Run

(in Key of C)

Order(in

Key of C)

:::: ::::
4/4 beat
1,2,3,4,5,6,7,8
(REPEAT)

Playing the Bass

Playing the Bass

Fingering

Order

(in Key of C)

::::

2/4 beat
1,2,3,4,5, (shift)
6,7,8,9,10 (shift) 11,12,1
(Move to F. Repeat Pattern.
Move to Bb. Repeat
Pattern. Stop on C. )

1/2
step
Run
Down
(Starting
with C)

Fingering

Order

(in Key of C)

::::

1/2
step
Run Up
(Starting
with C)

2/4 beat
1,2,3,4,5, (shift)
6,7,8,9,10 (shift) 11,12,1
(Move to F. Repeat Pattern.
Move to Bb. Repeat
Pattern. Stop on C. )

Scale Techniques
on the Accordion

Major and Minor Scales

SCALES
A scale is a stepwise arrangement of notes/pitches contained
within an octave.
Major and minor scales contain seven notes or scale degrees.
A scale degree is designated by an Arabic numeral with a cap (^)
which indicate the position of the note within the scale.

SCALE DEGREE
1
2
3
4
5
6
7

NAME
tonic / keynote
supertonic
mediant
subdominant
dominant
submediant
leading tone

Fingering

Major
Scale
(in Key
of C)

SOLFEGE
do
re
mi
fa
sol
la
ti

>>>>
>>>>

Order

(in Key of C)

4/4 beat
1,2,3,4,5,6,7,1
(REPEAT)

Major and Minor Scales

A scale is a sequence of rising or falling notes. Two of the most used scales in western music
are the major and minor scales. The major scale is the diatonic sequence (changing by one
note name at a time) with the following ordering of tone and semitone intervals: T, T, S, T, T,
T, S. For example the scale of C major consists of the notes C D E F G A B C. There are two
types of the minor scale, the harmonic and melodic - the latter using different intervals for
rising and falling note sequences. For example the scale of A minor harmonic consists of the
notes A B C D E F G# A. The melodic form of A minor differs in each direction: A B C D E F#
G# A G F E D C B A.
Notice that the descending form of A minor melodic uses the same notes as the scale of C
major. This is true for all descending melodic minor scales whose keynote is the 6th note of a
major scale. Because of this, the minor scale is called the relative minor.
To see which notes make up any scale, choose the keynote (tonic) from the choices offered
below, you can also choose whether the relative minor scale is shown.
Scales are important since most notes in a section of music will come from one scale - the
music is said to be in a given Key. So a passage in the key of Eb major will use notes mainly
from the scale of Eb major. Some forms of music, for example Jazz and Blues, use other
scales. The same can be said of much non-Western music.
Now that you understand scales you can move on to intervals.

The Major Scales

A Major Scale is a series a EIGHT notes in ALPHABETICAL
ORDER. A scale that has half steps (H) between scale degrees 34 and 7-8 and whole steps between all other pairs of notes.

TONIC

2ND MAJOR
TETRACHORD

1ST MAJOR
TETRACHORD

1/2

1
1/2

1
1

TONIC

A tetrachord is a group of four notes in a scale. There are two

tetrachords in the major scale, each with the same order half- and
whole-steps (W-W-H). Therefore, a tetrachord consisting of WW-H can be the top tetrachord or the bottom tetrachord of a
major scale. The two tetrachords for the C major scale are :
(major tetrachord) C - D - E - F <- tone -> G - A - B - C (major
tetrachord).

WHOLE WHOLE HALF

STEP
STEP
STEP

WHOLE WHOLE HALF

STEP
STEP
STEP

The MAJOR SCALE

A MAJOR SCALE may be build starting on ANY of the 12 NOTES, black or white.

C major scale - Key signature : no sharps no flats.

C - D - E - F - G - A - B - C
G major scale - Key signature : 1 sharp.
G - A - B - C - D - E - F# - G
D major scale - Key signature : 2 sharps.
D - E - F# - G - A - B - C# - D
A major scale - Key signature : 3 sharps.
A - B - C# - D - E - F# - G# - A
E major scale - Key signature : 4 sharps.
E - F# - G# - A - B - C# - D# - E
B major scale - Key signature : 5 sharps.
B - C# - D# - E - F# - G# - A# - B
Gb major scale - Key signature : 6 flats.
Gb - Ab - Bb - Cb (= B) - Db - Eb - F - Gb
Db major scale - Key signature : 5 flats.
Db - Eb - F - Gb - Ab - Bb - C - Db
Ab major scale - Key signature : 4 flats.
Ab - Bb - C - Db - Eb - F - G - Ab
Eb major scale - Key signature : 3 flats.
Eb - F - G - Ab - Bb - C - D - Eb
Bb major scale - Key signature : 2 flats.
Bb - C - D - Eb - F - G - A - Bb
F major scale - Key signature : 1 flat.
F - G - A - Bb - C - D - E - F

The Natural Minor Scales

You can think of the natural minor scale as the 6th degree to the
6th degree of a major scale.
As with the major scale, each note has name/solfege syllable. The
names/solfege syllables of the third, sixth and seventh degrees are
different from major.

SCALE DEGREE

NAME

SOLFEGE

1
2

tonic/keynote
supertonic

do
re

mediant

me

4
5

subdominant
dominant

fa
sol

submediant

le

subtonic

te

The Natural Minor Scale

There are 3 forms of minor scales: natural, harmonic and melodic.
A Natural Minor scale is a scale that contains half-steps between
2-3 and 5-6 scale degrees (the natural form).
A harmonic minor scale consists of 7 different notes.
The intervals from note to note are : tone - semitone - tone tone - semitone - tone - tone
The scale can also be described as two tetrachords separated
by one whole tone.
one minor tetrachord : tone - semitone - tone
one cool tetrachord : semitone - tone - tone
The two tetrachords for the C harmonic minor scale are :
(minor tetrachord) C - D - Eb - F <- tone -> G - Ab - Bb - C (cool
tetrachord)

WHOLE WHOLE
STEP
STEP

HALF
STEP

C
C
2

WHOLE
STEP

HALF
STEP

WHOLE
STEP

(1)

1
2ND COOL
TETRACHORD

1ST MINOR
TETRACHORD

G Ab Bb C

C D Eb F
1

1
1
TONIC
1

1/2

1/2
2

b3

1
b6

TONIC
1

The Natural Minor Scale

A Natural Minor SCALE may be build starting on ANY of the 12 NOTES, black or white.

C natural minor scale - Key signature: 3 flats

C - D - Eb - F - G - Ab - Bb - C
G natural minor scale - Key signature: 2 flats
G - A - Bb - C - D - Eb - F - G
D natural minor scale - Key signature: 1 flat
D - E - F - G - A - Bb - C - D
A natural minor scale - Key signature: no sharps no flats
A - B - C - D - E - F - G - A
E natural minor scale - Key signature: 1 sharps
E - F# - G - A - B - C - D - E
B natural minor scale - Key signature: 2 sharps
B - C# - D - E - F# - G - A - B
Gb natural minor scale - Key signature: 3 sharps
F# - G# - A - B - C# - D - E - F#
Db natural minor scale - Key signature: 4 sharps
C# - D# - E - F# - G# - A - B - C#
Ab natural minor scale - Key signature: 5 sharps
G# - A# - B - C# - D# - E - F# - G#
Eb natural minor scale - Key signature: 6 flats
Eb - F - Gb - Ab - Bb - Cb (= B) - Db - Eb
Bb natural minor scale - Key signature: 5 flats
Bb - C - Db - Eb - F - Gb - Ab - Bb
F natural minor scale - Key signature: 4 flats
F - G - Ab - Bb - C - Db - Eb - F

The Harmonic Minor Scales

It can be thought of as a natural minor scale with a raised 7
scale degree.
The 7th scale degree is raised to have a leading tone in the key;
makes V-i sound as we expect.
It is called the harmonic minor sclae since the seventh scale
degree is changed to make the harmony i-V-i sound correct.
7th scale degree is called leading tone (ti) -- just as in the major
scale.

SCALE DEGREE

NAME

SOLFEGE

tonic / keynote

do

supertonic

re

mediant

me

subdominant

fa

dominant

sol

submediant

le

leading tone

ti

The Harmonic Minor Scales

A harmonic minor scale consists of 7 different notes.
The intervals from note to note are: tone - semitone - tone - tone
- semitone - tone and a half - semitone
The scale can also be described as two tetrachords separated by
one whole tone.
one minor tetrachord : tone - semitone - tone
one gypsy tetrachord : semitone - tone and a half - semitone
The two tetrachords for the C harmonic minor scale are :
(minor tetrachord) C - D - Eb - F <- tone -> G - Ab - B - C (gypsy
tetrachord)
A harmonic minor scale is a form of a minor scale with half steps
between 2-3, 5-6 and 7-8. Its unique interval is that between 6-7
-- the whole plus half step (or augmented 2nd).

HALF
STEP

1 1/2
STEP

HALF
STEP

C
C

WHOLE HALF WHOLE

STEP
STEP STEP

(1)

1
2ND GYPSY
TETRACHORD

1ST MINOR
TETRACHORD

G Ab B C

C D Eb F
1
TONIC
1

1
1/2
2

3b

1/2
5

1/2

1 1/2
6b

TONIC
1

The Harmonic Minor Scale

Here a list of the major scale in all 12 keys :
C harmonic minor scale - Key signature: 3 flats (Bb cancelled).
C - D - Eb - F - G - Ab - B - C
G harmonic minor scale - Key signature: 2 flats (F raised).
G - A - Bb - C - D - Eb - F# - G
D harmonic minor scale - Key signature: 1 flat (C raised).
D - E - F - G - A - Bb - C# - D
A harmonic minor scale - Key signature: No flats or sharps (G raised)
A - B - C - D - E - F - G# - A
E harmonic minor scale - Key signature: 1 sharp (D raised).
E - F# - G - A - B - C - D# - E
B harmonic minor scale - Key signature: 2 sharps (A raised).
B - C# - D - E - F# - G - A# - B
F# harmonic minor scale - Key signature: 3 sharps (E raised).
F# - G# - A - B - C# - D - E# - F#
C# harmonic minor scale - Key signature: 4 sharps (B raised).
C# - D# - E - F# - G# - A - B# - C#
G# harmonic minor scale - Key signature: 5 sharps (F# raised).
G# - A# - B - C# - D# - E - G (F##) - G#
Eb harmonic minor scale - Key signature: 6 flats (Db raised).
Eb - F - Gb - Ab - Bb - Cb - D - Eb
Bb harmonic minor scale - Key signature: 5 flats (Ab raised)
Bb - C - Db - Eb - Fb (E) - Gb - A - Bb
F harmonic minor scale - Key signature: 4 flats (Eb raised)
F - G - Ab - Bb - C - Db - E - F

The Melodic Minor Scale

Its bottom tetrachord is the same as that from the natural minor
scale, and the top tetrachord is the same as that from the major
scale.
It can be thought of as harmonic minor with a raised 6th. The 6th
scale degree is raised to alleviate the W+H step interval between 67 in harmonic minor.
The 6th scale degree is the submediant (la); the 7th scale degree is
the leading tone (ti).

SCALE DEGREE
1

NAME
tonic / keynote

SOLFEGE
do

supertonic

re

mediant

me

4
5

subdominant
dominant

fa
sol

submediant

la

leading tone

ti

Therefore, when you play the pentatonic major and minor scales, you
are playing the same pattern with a different root. However, this
doesn't work for all minor scales. Since the pentatonic minor scale has
the same pattern of whole and 1 steps as pentatonic major, and the
natural minor scale has the same pattern of whole and 1 steps as the
major scale, then these scales have repeating pattern as shown above.
Unfortunately, the harmonic minor and the melodic minor scales do
not have the same pattern of whole and 1 steps as the major scale,
and therefore do not have repetitive patterns. But since some of the
scales do have repetitive patterns, your workload just shrank! I will
be sure to mention when a certain minor mode has an analog in a major
scale, so look for that on the mode pages. Good luck!

The Melodic Minor Scale

A melodic minor scale has 2 forms: ascending and descending.
This type of minor scale is called "melodic" because is it easier to
sing; there is no augmented 2nd interval.
The ascending form has half steps between 2-3 and 7-8.
A harmonic minor scale consists of 7 different notes.
The intervals from note to note are : tone - semitone - tone tone - semitone - tone - tone
The scale can also be described as two tetrachords separated
by one whole tone.
one minor tetrachord : tone - semitone - tone
one major tetrachord : tone - tone - semitone
The two tetrachords for the C harmonic minor scale are :
(minor tetrachord) C - D - Eb - F <- tone -> G - A - B - C (major
tetrachord)

HALF
STEP

WHOLE WHOLE
STEP
STEP

C
C
2

WHOLE
STEP

HALF
STEP

WHOLE
STEP

(1)

1
2ND COOL
TETRACHORD

1ST MINOR
TETRACHORD

G A B C

C D Eb F
1

1
1
TONIC
1

1/2
2

b3

1/2

1
6

TONIC
1

The Melodic Minor Scale

Here a list of the major scale in all 12 keys :
C melodic minor scale - Key signature: 3 flats (Bb cancelled).
C - D - Eb - F - G - A - B - C
G melodic minor scale - Key signature: 2 flats (F raised).
G - A - Bb - C - D - E - F# - G
D harmonic minor scale - Key signature: 1 flat (C raised).
D - E - F - G - A - Bb - C# - D
A melodic minor scale - Key signature: No flats or sharps (G raised)
A - B - C - D - E - F - G# - A
E melodic minor scale - Key signature: 1 sharp (D raised).
E - F# - G - A - B - C - D# - E
B melodic minor scale - Key signature: 2 sharps (A raised).
B - C# - D - E - F# - G - A# - B
F# melodic minor scale - Key signature: 3 sharps (E raised).
F# - G# - A - B - C# - D - E# - F#
C# melodic minor scale - Key signature: 4 sharps (B raised).
C# - D# - E - F# - G# - A - B# - C#
G# melodic minor scale - Key signature: 5 sharps (F# raised).
G# - A# - B - C# - D# - E - G (F##) - G#
Eb melodic minor scale - Key signature: 6 flats (Db raised).
Eb - F - Gb - Ab - Bb - Cb - D - Eb
Bb melodic minor scale - Key signature: 5 flats (Ab raised)
Bb - C - Db - Eb - Fb (E) - Gb - A - Bb
F melodic minor scale - Key signature: 4 flats (Eb raised)
F - G - Ab - Bb - C - Db - E - F

The Melodic Minor Scale

The descending form:
has half steps between 2-3, 5-6 (the same as the natural minor
scale)
The 6th scale degree is the submediant (le); the 7th scale degree
is subtonic (te).

SCALE DEGREE

NAME

SOLFEGE

tonic / keynote

do

2
3

supertonic
mediant

re
me

subdominant

fa

dominant

sol

submediant

le

subtonic

te

SCALE RELATIONSHIPS
Major and minor scales may be relative or parallel.
Relative major and minor scales share the same key signature
but start on different notes. (e.g., C major and a minor)
Parallel major and minor scales have the same starting note but
different key signatures. (e.g., C major and c minor)

Intervals
As mentioned above, the difference between notes is called an
interval. It is important to understand intervals before learning
how to build chords which are combinations of notes. The intervals
between the keynote of the major scale and each successive note
are denoted the 2nd, 3rd, 4th, 5th, 6th, 7th and octave. The
following list gives the technical names for all the common intervals
along with an example.

Common intervals
Unisons
Unison: C-C
Seconds
Minor 2nd: C-Db
Major 2nd: C-D
Augmented 2nd: C-D#
Thirds
Diminished 3rd: C#-Eb
Minor 3rd: C-Eb
Major 3rd: C-E
Augmented 3rd: C-E#
Fourths
Diminished 4th: C-Fb
Perfect 4th: C-F
Augmented 4th: C-F#

Fifths
Diminished 5th: C-Gb
Perfect 5th: C-G
Augmented 5th: C-G#
Sixths
Minor 6th: C-Ab
Major 6th: C-A
Augmented 6th: C-A#
Sevenths
Minor 7th: C-Bb
Major 7th: C-B
Octaves
Perfect 8ve: C-C

I have included some fairly unusual intervals but this is by no

means a complete list. Once past an octave we are into the realm of
compound intervals. The naming is quite obvious, for example a
major 9th is an octave plus a major 2nd.
Now that you understand intervals you can move on to chords.