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Scale tab patterns are at the bottom…

2nd Position in PowerBender Tuning
Have you heard the harmonica players chanting in the streets? “We want expressive draw bends in 2nd Position, all the way up the harp!” PowerBender gives you those bends, plus an ice skating rink full of glissando possibilities.

Do I use 4 draw or 5 blow?
In PowerBender tuning, the 4 draw note is the same as the 5 blow note. I use 4 draw on the Blues Scale, since a bend is required for the “blue note.” The Minor Pentatonic doesn’t include that note, so I suggest using the 5 blow there. Those are the best first options, I think, but it’s worth working out two versions of each scale so you’ll have the most flexibility when moving around.

Glissandos
Because of the doubling of the 4 draw and 5 blow notes, you’ll notice some really interesting spots in certain scales, where you get to play multiple notes in a row in the same breath direction. Just slide back and forth on the scale. Woohoo! Check out the blow notes in the middle of the Minor Pentatonic, and the draw notes in the middle of the Major Pentatonic. Major speed zones, potentially. Think John Popper or Jason Ricci.

Bonus Notes
Each of the scales noted here covers 2 full octaves, with additional stray notes left at the top and bottom ends. I call these extras “bonus notes.”

Gratuitous Bending
Remember, in PowerBender tuning, all the draw notes can be bent. So anytime a draw note is indicated in one of these scales, try bending up to it and see if doing so adds expressiveness or if it’s just weird-sounding.

Blues Scale

-2 -3′ 4 -4′ -4 6 -6

-6 -7′ 8 -8′ -8 -9″ -9

bonus notes: -9 -10″ -10
and -2 -2″ -1 1

Minor Pentatonic Scale

-2 -3′ 4 5 6 -6

-6 -7′ 8 -8 -9″ -9

bonus notes: -9 -10″ -10
and -2 -2″ -1 1

Major Pentatonic Scale

-2 -3″ -3 -4 -5 -6

-6 7 -7 -8 9 -9

bonus notes: -9 10 -10′
and -2 2 -1

Major Scale

-2 -3″ -3 4 -4 -5 -6′ -6

-6 7 -7 8 -8 9 -9′ -9

bonus notes: -9 10 -10′
and -2 -2′ 2 -1 1

Holy Cow, This is Amazing
Let’s take a moment now to note how cool it is that PowerBender tuning allows you to play a full major scale in 2nd position, across TWO OCTAVES, with all the bluesy bend possibilities on important chord tones? Thank you, Brendan Power.

(What’s that, you say? You could do that in standard tuning on a Suzuki SUB30? Well then, thanks again to Mr. Power.)

Introduction

Want to try out an altered tuning but hate using a file?

I’ve had a lot of fun lately using poster putty (known outside the US as “Blu-Tac”) to drop the pitch of reeds and experiment with alternate tunings. Here’s the really neat part: if you don’t like the results, unstick the putty and you’re back to normal. No harm done; it’s completely reversible. Brendan Power pioneered this technique years ago, and I either heard about it from him or from Pat Missin. There’s also been a good amount of discussion of tuning harmonicas using putty / Blu Tac on Harp-L and the ModernBluesHarmonica forum.

Dorian Tuning
One of the easiest tunings to attempt is “Dorian,” which turns 2nd position cross harp from major to minor. While Dorian Tuning is usually thought of as a really easy way to get jazzy sounds in a familiar position, it also turns 1st position into Mixolydian, which is a neat modal major sound for Celtic music. But I digress.

Just change two notes: drop the 3 and 7 draw by a 1/2 step.

Because these are both draw notes, they’re accessible on the outside of the reedplate, which means you don’t have to fully disassemble the harp to retune them.

On a C harp, the 3 and 7 draw will be a B. You’ll retune them both to B-flat. If you use a different key harmonica, just make your target pitch for 3 and 7 draw a half-step lower than the original note.

Let’s get started!

Supplies you’ll need:

1. Poster Putty or Blu-Tac ($5 at office supply store)
2. X-acto style craft knife
3. C Harmonica
4. Chromatic Electronic Tuner
5. Paper receipt or other thin shim
6. Small Screwdriver

Prepare the harp:

1. Remove cover plates of harmonica
2. Turn harp over, so draw reeds are visible.
3. Insert paper or shim gently under the 3 draw reed

Prepare the putty:

1. Cut off a TINY corner with your Xacto knife.
2. Roll it on the table until it’s a TINY thin tube.
3. Cut off a TINY piece of that thin tube.

Did I mention you’ll only need a TINY amount of putty? You’ll get a feel for how much is enough after you’ve experimented a bit, but generally, start with less than you might think you’d need.

Tuning:

1. Make sure the 3 draw reed is supported by the shim. Use the Xacto blade to place a tiny piece of putty on the free, weighted end of the Draw 3 reed. Press the putty gently so it sticks to the reed.

2. Use the Xacto blade to shape the putty so it doesn’t squish out beyond the edge of the reed. That’ll ensure the reed swings freely without catching in the slot.

3. Remove the shim and play the 3 draw. Your tuner will tell you if you’ve made it to the target note.

Fine Tuning:

1. Lower Pitch: If you’re too high and need to lower the pitch further, cut off another TINY piece of putty from the tube you rolled out, and stick it on top of what you’ve added so far. Use the knife blade to shape the putty so it doesn’t squish beyond the edge of the reed.

2. Raise Pitch: If you’re too low and need to raise the pitch a little, remove the putty, cut off a TINY bit from it, and reapply.

3. You can also adjust the pitch moving the putty closer or farther from the free end. Closer to the free end lowers the pitch, farther from the free end raises it.

4. Smaller reeds require less putty.

Repeat this process until 3 and 7 draw are tuned a half-step lower. That’s B-flat, if you’re starting with a B.

Afterward
Have fun with your new, custom-tuned harmonica, and rest easy, knowing it’s reversible! To get back to standard tuning, just remove the putty and you’re home free. Or leave it on! If the reeds are dry to start with, the putty seems to stay put pretty well. If a piece gets unstuck, disassemble, find the rogue blob inside the comb or coverplate and reapply, or use a new tiny piece of putty.

Exhilarated by this new world of altered harmonica tunings? Check out Pat Missin’s great guide, titled “Altered States

Originally posted June 2013

I had the opportunity to play harmonica in a jazz workshop the other weekend in Peterborough, NH at the Monadnock Center for History and Culture. I brought a mic and 14 harps with me, in various keys, but ended up only playing my C diatonic Golden Melody.

I settled on the C harp, not because the key was particularly suited to the tunes called for that day, but because it it has the best overblow setup of my current harps, and importantly, it’s the one I read best on.

We played Solar, by Miles Davis, So Danco Samba by Jobim, a Mingus tune arranged in 5, and a ballad whose name I forget.

We read the tunes down, everybody took a solo, and the director gave us suggestions, one of which was to play guide tones behind the soloists during B sections, then remember those guide tones to help structure our own solos.

The high school flautist sitting next to me had an even simpler approach: take the notes in each measure and rearrange them. Brilliant.

In my solos, I ended up mostly just arpeggiating chords. But darned if that didn’t get me through the changes and sound a little bit like I knew what was going on!

My intonation in the low octave was sometimes a little seasick, but the fact that I got through all keys and chords without much problem was a major encouragement. Next step is to get through those changes with more linear lines and less hopping…

It was really great to play with a live jazz rhythm section and be a part of a horn section for a couple hours.

Big thanks to workshop leader Rich Greenblatt and to Gordon Peery for organizing this event at the Monadnock Center for History and Culture.

Originally posted May 2013

At the end of April 2013 I flew to Indianapolis for a multi-day event organized by Jason Ricci and Winslow Yerxa called “Harmonica Collective.”

It was a blast. After an opening night jam at a local blues bar, we had three days of classes on improv, theory, breathing, tongue blocking, amplification, mic technique, and how to tweak harmonicas for better playability.

At the end, we closed out back at the blues bar with a staff concert, during which I was called up to perform with two of my teachers, Paul Davies and James Conway.

Paul and I played an improvised waltz as a duo, then James brought out his bagpipe-tuned harp for a solo piece, and we finished with an uptempo trio take on the Harvest Home Hornpipe.

I’m still processing all the class material, one-to-one conversations, and jam experiences. It was nice to meet so many people with their own harmonica obsessions.

I came away from Harmonica Collective with a renewed focus on tongue blocking, especially corner switching for fiddle tunes with big leaps.

Also, I quickly realized that most of the players there had played a lot more blues jams than me. I spend a lot of time woodshedding fiddle tunes and taking melodies through all 12 positions. It might be time to take a step back and just groove in cross harp awhile.

Thanks to all the Expert Guides: Jason Ricci, Winslow Yerxa, Richard Sleigh, RJ Mischo, Michael Peloquin, James Conway, and Guest Stars Paul Davies and Buzz Krantz.

Also, special thanks to the Saigon Restaurant for their delicious noodle bowls and friendly home-style service. Three meals in four days! Next time, I may even order an avocado shake of my own instead of just sipping everybody else’s.

Originally posted April 2013

I’m looking forward to attending the Harmonica Collective workshop in Indianapolis in a couple of weeks!

It’s a three-day, four-night event featuring specialists in blues, jazz, Celtic, and harp tech, including Jason Ricci, Michael Peloquin, Richard Sleigh, James Conway, and the author of Harmonica For Dummies, Winslow Yerxa.

What do I hope to gain from going to a harmonica conference? Well, to start with, top-secret harmonica information I can’t even anticipate, because I’m not one of the Illuminati (yet). I do have goals in a few different areas, though.

Overblows: Several of the teachers are top OB practitioners. Hopefully they can give me some pointers or perspective after they hear me play.

Tongue Blocking: I play fiddle tunes (and most other music) using a pucker embouchure. I tongue block a bit, throwing in octaves and tongue slaps, and I’ve worked pretty extensively on using TB to play drones behind melodies. I’d like to get started on some corner switching for melodies that have big jumps and arpeggio figures. Vamping (adding rhythmic chords behind the melody) would also be of interest.

Style-Specific Pointers: Jazz, Blues, Irish, and other musical styles are essentially languages. I’d love to pick up some vocabulary and improve my pronounciation by speaking with natives and naturalized citizens from those countries. Sorry for the mixed metaphors.

Friends, Colleagues: it can be good to meet people who are obsessed with the same stuff you’re into.

Concerts: did I mention that all the teachers will be performing?

In summary, Harmonicaland, here I come. Woohoo!

PS: the Expert Guide roster seems to be heavy on beards. I am curious to know whether this holds true for attendees as well. Does having a beard predispose one to playing the harmonica, or does it evolve as one persists in playing? What does this mean for women? Deep questions.

What are Positions?
“Position” on the harmonica refers to what key you’re playing in. Turns out, you can actually play in more than one key on the same diatonic harmonica! Positions are numbered according to the Circle of 5ths.

Cross Harp and Straight Harp are Positions
You’ll start to get the position concept if you think about the difference between straight harp and cross harp. In cross harp, home base is the 2 draw. In straight harp, home base is the 4 blow. When you choose to play something in cross harp vs. straight harp, you’re actually choosing to play in different keys, which we’re calling “positions.” Straight harp is 1st position, which is key of C on a C harp. Cross harp is 2nd position, which is key of G on a C harp. Positions allow you to play in multiple keys on the same harmonica.

Transferable Scale Patterns
On the other hand, positions also allow you to play the same stuff on different-key harps. If you learn to play a scale or a lick on one harp, you can switch to a different-key harp and it still works. It’ll just sound relatively lower or higher. The position system allows you to switch harps easily without having to relearn the location of every note on a new harp. Anything you learn on one harp is transferable to another harp, and if you study the key relationships and learn what each position is good for, you’ll know in advance what kinds of sounds you’re going to make.

Positions on a C Harp

1st Position – C
2nd Position – G
3rd Position – D
4th Position – A
5th Position – E
6th Position – B
7th Position – F# / Gb
8th Position – C# / Db
9th Position – G# / Ab
10th Position – D# / Eb
11th Position – A# / Bb
12th Position – F

What Do They Sound Like?

1st Position – major in the middle, blues up high
2nd Position – blues down low, major up high
3rd Position – minor
4th Position – minor
5th Position – minor
6th Position – minor
7, 8, 9, 10 Position – challenging, multiple uses
11th, 12th Position – major

Taps in Three Positions – No Bends Required!

1st Position (C on a C harp)

3 3 4       3 4 5

3 4 5       3 4 5       3 4 5

4 5 6       5 4 3

3 3 4

2nd Position (G on a C harp)

-1 -1 -2      -1 -2 -3

-1 -2 -3      -1 -2 -3      -1 -2 -3

-2 -3 -4      -3 -2 -1

-1 -1 -2

12th Position (F on a C harp)

4 4 -5       4 -5 -6

4 -5 -6      4 -5 -6      4 -5 -6

-5 -6 7     -6 -5 4     

4 4 -5

The “Flat” Positions
As a footnote, Howard Levy has an alternative nickname for 12th position – he calls it “first flat position,” since when you play a major scale there on a C harp, it features one flat in its key signature. He calls 11th position “second flat position” for the same reason, since there are two flats in 11th when you play a major scale there. This way of thinking about the counter-clockwise positions has been helpful to me. On a gut level, I’d suspected that the higher-numbered positions must be harder, somehow. But just the opposite is true – basically, the closer you are to 1st position, the easier the positions tend to be, whether you’re traveling left or right from the top.

Here are note layouts for standard (Richter-tuned) diatonic harmonicas in all 12 major keys.

Blow or Draw on Top?
Some folks prefer to list the blow notes on top and the draw notes on the bottom, since that’s the way the reedplates are set up if you take the covers off. However, most students I work with tend to think of higher sounds as being UP and lower sounds as being DOWN. From holes 1-6, the blow notes are lower-pitched – thus, blow notes are on the bottom row, for the sake of visualizing the note layout. If you look closely, you’ll notice that the lower / higher relationship flips starting with hole 7, but don’t worry about it – just leave the blow notes on the bottom row.

C

Draw  D  G  B  D  F  A  B  D  F  A
Hole  1  2  3  4  5  6  7  8  9  10
Blow  C  E  G  C  E  G  C  E  G  C

D

Draw  E  A  C# E  G  B  C# E  G  B
Hole  1  2  3  4  5  6  7  8  9  10
Blow  D  F# A  D  F# A  D  F# A  D

E

Draw  F# B  D# F# A  C# D# F# A  C#
Hole  1  2  3  4  5  6  7  8  9  10
Blow  E  G# B  E  G# B  E  G# B  E 

F

Draw  G  C  E  G  Bb D  E  G  Bb D
Hole  1  2  3  4  5  6  7  8  9  10
Blow  F  A  C  F  A  C  F  A  C  F

G

Draw  A  D  F# A  C  E  F# A  C  E
Hole  1  2  3  4  5  6  7  8  9  10
Blow  G  B  D  G  B  D  G  B  D  G

A

Draw  B  E  G# B  D  F# G# B  D  F#
Hole  1  2  3  4  5  6  7  8  9  10
Blow  A  C# E  A  C# E  A  C# E  A

B

Draw  C# F# A# C# E  G# A# C# E  G#
Hole  1  2  3  4  5  6  7  8  9  10
Blow  B  D# F# B  D# F# B  D# F# B

Bb

Draw  C  F  A  C  Eb G  A  C  Eb G
Hole  1  2  3  4  5  6  7  8  9  10
Blow  Bb D  F  Bb D  F  Bb D  F  Bb

Eb

Draw  F  Bb D  F  Ab C  D  F  Ab C
Hole  1  2  3  4  5  6  7  8  9  10
Blow  Eb G  Bb Eb G  Bb Eb G  Bb Eb

Ab

Draw  Bb Eb G  Bb Db F  G  Bb Db F
Hole  1  2  3  4  5  6  7  8  9  10
Blow  Ab C  Eb Ab C  Eb Ab C  Eb Ab

Db

Draw  Eb Ab C  Eb Gb Bb C  Eb Gb Bb
Hole  1  2  3  4  5  6  7  8  9  10
Blow  Db F  Ab Db F  Ab Db F  Ab Db

F#

Draw  G# C# E# G# B  D# E# G# B  D#
Hole  1  2  3  4  5  6  7  8  9  10
Blow  F# A# C# F# A# C# F# A# C# F#

Why Learn the Circle of 4ths?
Have you read my article on the Circle of 5ths? I’d recommend starting there. If you’re still with me, the Circle of 4ths and the Circle of 5ths are two sides of the same coin. 4ths help you with flats (b), 5ths help you with sharps (#).

Once more, please. Why is this stuff important?!
You can play basic harmonica just fine without this info, but wouldn’t it be cool to know exactly what notes are available in every major key? Might it not be helpful sometimes to know exactly which notes your harmonicas are tuned to, on every hole?

What’s a 4th?
An interval: the distance between two notes. If C is note 1, then counting alphabetically, F is note 4.

C	D	E	F		
1	2	3	4

F is a fourth above C.

Natural Notes, Sharps (#) and Flats (b)

There are seven natural notes: C D E F G A B

There are five sharp / flat notes:

F#/Gb
C#/Db
G#/Ab
D#/Eb
A#/Bb

The notes with sharps and flats each have two names. They can be named as a lower note name with a sharp, or as a higher note name with a flat.

We’re going to focus on flats in this article.

Examples of Flat Keys

The key of C has no sharps or flats.

C D E F G A B C

The key of F has 1 flat: Bb

F G A Bb C D E F

The key of Bb has 2 flats: Bb, Eb

Bb C D Eb F G A Bb

The key of Eb has 3 flats: Bb, Eb, Ab

Eb F G Ab Bb C D Eb

The key of Ab has 4 flats: Bb, Eb, Ab, Db

Ab Bb C Db Eb F G Ab

What’s the Pattern?

Key Names
Let’s start with the key names: C F Bb Eb Ab

From C to F is a fourth.
From F to Bb is a fourth.
From Bb to Eb is a fourth.
From Eb to Ab is a fourth.

The flat keys are following the Circle of Fourths!

Flats
Now let’s look at which notes have flats: Bb, Eb, Ab, Db

From Bb to Eb is a fourth.
From Eb to Ab is a fourth.
From Ab to Db is a fourth.

The flat notes are also following the Circle of Fourths!

Conclusion: Flats
1. To learn the flat keys, start with C and follow the Circle of 4ths.
2. Each new key will add one more flat to the previous one’s key signature.
3. To learn which notes are flat, start with Bb and follow the Circle of 4ths.

Like to Memorize Stuff?

Circle of 4ths

C	F	

A#/Bb	D#/Eb	G#/Ab	C#/Db	F#/Gb	

B 	E 	A 	D 	G 	C

Flat Notes

Bb	Eb	Ab	Db	Gb

Scales with Flats

C 	D 	E 	F 	G 	A 	B 	C

F 	G 	A 	Bb 	C 	D 	E 	F

Bb 	C 	D 	Eb 	F 	G 	A 	Bb

Eb 	F 	G 	Ab 	Bb 	C 	D 	Eb

Ab 	Bb 	C 	Db 	Eb 	F 	G 	Ab

Db 	Eb 	F 	Gb 	Ab 	Bb 	C 	Db

Awesome! Tell me about SHARPS again, please!

What’s the difference between cross harp and straight harp? Are they different instruments? Nope, just different ways of playing the diatonic harmonica.

In straight harp, or first position, you’re playing in the key of C on a C harmonica. Your major scale looks like 4 -4 5 -5 6 -6 -7 7. Your draw notes are bendable, and your blow notes are points of resolution. Straight harp is the sound of the major key, happy, folk, campfire, Civil War songs, Irish fiddle tunes, and lots of straight-ahead melody playing.

In cross harp, or second position, you’re playing in the key of G on a C harmonica, and the low octave scale is -2 -3″ -3 4 -4 5 -5 6. Your major scale requires bends, and it runs from 2-draw to 6-blow. The seventh note in the scale is pitched lower than it normally would be in a standard Do Re Mi scale. Also, in this low octave, your draw notes are where things resolve. Read that again – your resolving notes can bend. That means, when you bend them, you are messing with the laws of gravity.

Resolution notes are the notes that you need for stability, for the song to be at peace. No wonder cross harp is the position for playing the blues! You are seriously messing with your listeners’ musical universe when you bend those notes on 2, 3, and 4 draw, and it naturally has a powerful emotional effect.

Here’s a closer look.

Straight Harp Major Scale

Hole #  4   -4    5   -5    6   -6   -7    7
        C    D    E    F    G    A    B	   C	
Scl Deg 1    2    3    4    5    6    7    1

The numbers on the bottom row are scale degrees. There are seven notes in a diatonic scale. C is note number 1 in the key of C. D is note number 2, and so on.

Listen to the sound of B to C. They’re really close. There’s a strong sense of resolution. The distance between B and C is a half-step.

Cross Harp Major Scale (Mixolydian Mode)

Hole #  -2   -3”  -3    4   -4    5    -5    6
         G    A    B    C    D    E    F     G
Scl Deg  1    2    3    4    5    6    b7    1

Now play the G cross harp major scale, also known as the Mixolydian mode. It’s different from the standard major scale. Aside from the difficulty of bending accurately on hole 3, listen to what happens from F to G at the end. Those two notes are a lot farther apart, soundwise, than B to C above. There’s a whole step at the end of the Cross Harp modal scale, which gives it a slightly different feel. It’s like a cross between major and minor.

Now let’s go all the way over to the dark side…

Cross Harp Blues Scale (Minor Pentatonic)

Hole #     -2    -3'   4    -4'  -4    -5    6
            G    Bb    C    Db    D     F    G
Scale Deg   1    b3    4    b5    5    b7    1

To start with, we have fewer notes than above. Scale degree-wise, we originally had 1 2 3 4 5 6 7 1. Here, we skip the 2 and 6, we bend to get a note in-between 4 and 5, AND our 7th is flatted. Whoa! Not only that, but we bend the 3rd scale degree to get a minor 3rd. Whoa again!

No wonder cross harp gives you the blues, and I’m not talking about the technical difficulty. Depending how much you edge that 3rd up, you can inflect major or minor, but the overall sound is MINOR. Playing this minor sound against a guitarist playing major chords, you get a twangy, discordant sound. Powerfully emotional.

Straight harp can trigger powerful emotions, too, and when deployed strategically, it can sound every bit as unhinged as cross harp, but they really have different strengths.

Stepping away from music theory and technique, turning to the level of cultural currency, cross harp has deep connections with blues, gospel, and country music. As soon as someone starts playing cross harp, even an amateur, you know you’re headed down a bumpy dirt road somewhere, and that clear liquid in the jar probably isn’t water. Watch out.

Why Learn the Circle of 5ths?
Wouldn’t it be helpful to know what notes are included in each major key? Or to look at your box of harmonicas and know what notes each one is tuned to, on every hole?

What we’re talking about is learning key signatures. Key signatures tell you which notes are natural, and which notes have sharps and flats.

There’s an organizing principle to help you learn this stuff: the Circle of 5ths, also known as the Circle of 4ths.

What are 5ths and 4ths?
5ths and 4ths are intervals: the distance between two notes. For example, if C is note 1, then alphabetically, G is note 5. They’re a 5th apart.

C 	D	E	F	G	
1	2	3	4	5

Likewise, if C is note 1, then F is note 4. They’re a 4th apart.

C	D	E	F		
1	2	3	4

Natural Notes, Sharps (#) and Flats (b)

There are seven natural notes: C D E F G A B

There are five sharp / flat notes:

F#/Gb
C#/Db
G#/Ab
D#/Eb
A#/Bb

The notes with sharps and flats each have two names. They can be named as a lower note name with a sharp, or as a higher note name with a flat.

We’re going to focus on sharps in this article.

Examples of Sharp Keys

The key of C has no sharps or flats.

C D E F G A B C

The key of G has 1 sharp: F#

G A B C D E F# G

The key of D has 2 sharps: F#, C#

D E F# G A B C# D

The key of A has 3 sharps: F#, C#, G#

A B C# D E F# G# A

The key of E has 4 sharps: F#, C#, G#, D#

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

What’s the Pattern?

Key Names
Let’s start with the key names: C G D A E

From C to G is a fifth.
From G to D is a fifth.
From D to A is a fifth.
From A to E is a fifth.

The sharp keys are following the Circle of Fifths!

Sharps
Now let’s look at which notes have sharps: F#, C#, G#, D#

From F# to C# is a fifth.
From C# to G# is a fifth.
From G# to D# is a fifth.

The sharped notes are also following the Circle of Fifths!

Conclusion: Sharps
1. To learn the sharp keys, start with C and follow the Circle of 5ths.
2. Each new key will add one more sharp to the previous one’s key signature.
3. To learn which notes to sharp, start with F# and follow the Circle of 5ths.

Like to Memorize Stuff?

Circle of 5ths

C	G	D	A	E	B	

F#/Gb	C#/Db	G#/Ab	D#/Eb	

Bb	F	C

Sharp Notes

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

Scales with Sharps

C 	D 	E 	F 	G 	A 	B 	C

G 	A 	B 	C 	D 	E 	F#	 G

D 	E 	F# 	G 	A 	B 	C#	 D

A 	B 	C# 	D 	E 	F# 	G#	 A

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

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

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

Awesome! Tell me about FLATS now!