Tone Naming

With Numerical Chromatics, we label the base tone zero. When we do this, basic math works. The root for any key center is called zero and the tones are then numbered 1-11. Moving forward, I Love Guitar will be using this system. We have covered the traditional system in our Theory section.

There are many ways to view the structural naming following this numbering setup. We can stick with zero only for the root of the system, and other chord roots are based on their respective number, or keep moving the zero to a new root for any given chord. We will stick with the former...the root of the key system is zero. Subsequent roots for chords or modes are based on their numerical starting point.

Example: If C is zero, the ii chord, Dm, will be 2-5-9, not 0-3-7. This is one of the reasons we use this system, to avoid the renaming of every root in a system as a 1, and then paralleling it to its own Major key system. It is okay and possible to rename roots inside a key as zeros, yet, on this site, we won't be doing this. One friction point is chord naming, but we have conversion charts on the way and they will appear here [or a link!].

One other interesting idea is a fixed zero, such as the tone A. A would always be zero. And, B would be 2 and so on. Still working on whether this is viable. It would be a bold step.

In the traditional system, the base tone is labeled one. The tones in the Major scale are the numbers 1-7. The tones in between are compared [paralleled] to what is in the Major. We end up with flats and/or sharps in the names of tones that aren't in the Major key. Check out Derivative & Parallel for more on this.

Every tone including the base tone [the root] also has an interval name. The Major scale uses all of the Perfect and Major intervals [PU, M2, M3, P4, P5, M6, M7, P8]. Over time, we have seen these used these less and less. Yet, it doesn't hurt to know. And, conversely, they could just be another layer of over-naming left over from a musicology party in a previous century. Most musicianers know these terms, so they are good to know for communication purposes. Impress your friends! Or, make them dislike you more!

We are all familiar Solfege [do-re-mi-fa-so-la-ti-do], or maybe sargham [the East Indian equivalent]. These syllables do assist well with singing melodies. They are a good 'eartraining' tool, especially for children. We intentionally left the parallel tones blank. We haven't found universal agreement on these. For the 1 [numerical chromatics], we can use ra [rah] or ri [ree]. For the 3, we can use may. For the 6, we can use sa [sah] or si [see]. For the 8, we can use lay. For the 10, we can use tay.

For every tone, every other tone has a melodic and harmonic space to occupy. Every tone means something to every other tone.

When learning modes & chords, and what tones create them, it is good to know the musical tone inventories for all 12 tones [plus the one enharmonic key]. We have left out the keys of C sharp and C flat. We never see them and we already have enough to learn.

These tone inventories are named as Major keys and as the Major/minor Pentatonic which is created by the parallel tones. With time, each player must determine the shorthand or most effective and useful ways to use the system. At a certain point, this information merges with melodic mind and we may not think about tone names when soloing.

As we apply the inventories, your ear will be able to place tones in given situations. As you develop your melodic and harmonic sensibilites, you will search out tones to create the type of sound you are looking for. Memorizing the musical tone inventories is an integral component towards this end.

We are pairing 'opposites'. Opposites are keys which are the inverse of each other for the diatonic scale (what is natural in one, is sharped or flatted in the other). All of the pairs are a half step away from one another. For C we won't include C# and Cb because we don't see them...ever.

Diatonic means 'within the key'. Diatonic tones are the tones which are a part of the Major scale for the given tone. [The 2, 4, and 6 are also the 9, 11, and 13].

Note: When we say we favor the tonal spelling of the Major/minor pentatonic, this is just one way to consider this information. The non-diatonic tones of any Major key center do create a Major/minor pentatonic set of tones. The tritone (3 whole steps - 6 half steps) is the flat-5 from any tone. From that tone (the flat-5), the non-diatonic tones create a Major pentatonic tone set. From the flat-3, a minor pentatonic tone set is created. [The same set for a given key]. We use this model, but sometimes calling a flat something a sharp name can take a minute to get used to. We always know enharmonic spellings, so it shouldn't create too much confusion to think in this way. Think about inventories however suits your needs best. Or, don't think about it. You'll be fine either way.

Worksheet

The non-diatonic tones for A are Eb Major pentatonic (C minor pentatonic). We favor the tonal spellings of C minor/Eb Major pentatonic: C Eb F G Bb for the non-diatonic tones.

A and A-flat are opposites. What are naturals in A are flats in A-flat. What are flats in A-flat are naturals in A.

The non-diatonic tones for A flat are D Major pentatonic (B minor pentatonic). We favor the tonal spellings of B minor/D Major pentatonic: B D E F# A for the non-diatonic tones.

A and A-flat are opposites. What are naturals in A are flats in A-flat. What are flats in A-flat are naturals in A.

The non-diatonic tones for B are F Major pentatonic (D minor pentatonic). We favor the tonal spellings of D minor/F Major pentatonic: D F G A C for the non-diatonic tones. This set of tones is the same for Cb Major, but who really cares.

B and B-flat are opposites. What are naturals in B are flats in B-flat. What are flats in B-flat are naturals in B.

The non-diatonic tones of Bb are E Major pentatonic (C# minor pentatonic). We favor the tonal spellings of C# minor/E Major pentatonic: C# E F# G# B for the non-diatonic tones.

B and B-flat are opposites. What are naturals in B are flats in B-flat. What are flats in B-flat are naturals in B.

C Major is the simplest inventory. Since all the tones are naturals, the sharp and flat non-diatonic tones are the sharp and flat versions of the scale members. The flat names are shown above.

The non-diatonic tones for C are F#/Gb Major pentatonic (D# minor/Eb minor pentatonic). We favor the tonal spellings of Eb minor/Gb Major pentatonic: Eb Gb Ab Bb Db for the non-diatonic tones.

The non-diatonic tones for D are Ab Major pentatonic (F minor pentatonic). We favor the tonal spellings of F minor/Ab Major pentatonic: F Ab Bb C Eb for the non-diatonic tones.

D and D-flat are opposites. What are naturals in D are flats in D flat. What are flats in D-flat are naturals in D.

The non-diatonic tones for Db are G Major pentatonic (E minor pentatonic). We favor the tonal spellings of E minor/G Major pentatonic: E G A B D for the non-diatonic tones. This set of tones is the same for C# Major.

D and D-flat are opposites. What are naturals in D are flats in D flat. What are flats in D-flat are naturals in D.

The inventory of D flat is enharmonic with C#, but again, who really cares. If you do, figure out that dude.

The non-diatonic tones for E are Bb Major pentatonic (G minor pentatonic). We favor the tonal spellings of G minor/Bb Major pentatonic: G Bb C D F for the non-diatonic tones.

E and E-flat are opposites. What are naturals in E are flats in E-flat. What are flats in E-flat are naturals in E.

The non-diatonic tones for Eb are A Major pentatonic (F# minor pentatonic). We favor the tonal spellings of F# minor/A Major pentatonic: F# A B C# E for the non-diatonic tones.

E and E-flat are opposites. What are naturals in E are flats in E-flat. What are flats in E-flat are naturals in E.

The non-diatonic tones create B Major pentatonic (G# minor pentatonic). We favor the tonal spellings of G# minor/B Major pentatonic: G# B C# D# F# for the non-diatonic tones.

F and F-sharp are opposites. What are naturals in F are sharps in F-sharp. What are sharps in F-sharp are naturals in F.

The non-diatonic tones for F# are C Major pentatonic (A minor pentatonic). We favor the tonal spellings of A minor/C Major pentatonic: A C D E G for the non-diatonic tones. These are the same set of tones as Gb Major.

F and F-sharp are opposites. What are naturals in F are sharps in F-sharp. What are sharps in F-sharp are naturals in F.

G is another inventory where most of the non-diatonic tones are the sharp and flat versions of the diatonic members. F is the exception, where flatting a sharp creates a natural.

The non-diatonic tones for G are Db Major pentatonic (Bb minor pentatonic). We favor the tonal spellings of Bb minor/Db Major pentatonic: Bb Db Eb F Ab for the non-diatonic tones.

G and G-flat are opposites. What are naturals in G are flats in G-flat. What are flats in G-flat are naturals in G.

The inventory of G-flat is enharmonic with F#.

The non-diatonic tones for Gb are C Major pentatonic (A minor pentatonic). We favor the tonal spellings of A minor/C Major pentatonic: A C D E G for the non-diatonic tones.

G and G-flat are opposites. What are naturals in G are flats in G-flat. What are flats in G-flat are naturals in G.