Banjo Theory

8/12/2019 Banjo Theory

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Music Theory ForBanjo Players

Taught by Rick McKeon

This document has all of the diagramsreferred to in the video lessons

Enjoy!Rick


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Figure 1: Interval Pattern for the Major Scale

The major scale is the basis of all music theory! Once you know the pattern for themajor scale and where the half-steps are, you can figure out the name of any note on

the banjo fingerboard. Also, you will see why we end up with sharps or flats in some keysignatures.

What is a major scale?

All major scales have the same pattern of whole and half steps: Whole, Whole, Half,Whole, Whole, Whole, Half. This pattern is what gives that do re mi sound we are allso familiar with. So, no matter what note we start with, the major scale looks like this:

1 2 3 4 5 6 7 1

Whole Whole Half Whole Whole Whole Half(2 frets) (2 frets) (1 fret) (2 frets) (2 frets) (2 frets) (1 fret)

Where are the half steps?

To remember where the half-steps are think of a BEE to help you remember the lettersB and E.

BEE

Any two consecutive notes have a whole-step (two frets) between them except for twopairs: B&C and E&F which have a half-step (one fret) between them.

For all starting notes, if we went through and adjusted the notes (making them eithersharp or flat when necessary) to make them fit this pattern we would generate all of

the major scales.


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Figure 2: The Major Scale for all Keys

Major Scale Key Signature1 2 3 4 5 6 7 1

W W H W W W H

C D E F G A B C (No sharps or flats)G A B C D E F# G (1 sharp)D E F# G A B C# D (2 sharps)A B C# D E F# G# A (3 sharps)E F# G# A B C# D# E (4 sharps)B C# D# E F# G# A# B (5 sharps enharmonic to Cb)F# G# A# B C# D# E# F# (6 sharps enharmonic to Gb)

C# D# E# F# G# A# B# C# (7 sharps enharmonic to Db)

F G A Bb C D E F (1 flat)Bb C D Eb F G A Bb (2 flats)Eb F G Ab Bb C D Eb (3 flats)Ab Bb C Db Eb F G Ab (4 flats)Db Eb F Gb Ab Bb C Db (5 flats enharmonic to C#)Gb Ab Bb Cb Db Eb F Gb (6 flats enharmonic to F#)Cb Db Eb Fb Gb Ab Bb Cb (7 flats enharmonic to B)

To remember the order of sharps think Fat Cats Go Down And Eat Breakfast.

To remember the order of flats think of the word BEAD and then Go C Flats.


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Jesse JamesTraditional Arr. Rick McKeon

Rev. 3/6/11 Page 1/2

4 4 0Jesse

0 2[S]

G

James

0 4

0

VERSE

0

0

was

0

2

a

0 0

lad,0

0

0

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C

killed

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2

21

4

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man.

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He

[S]2

robbed

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the

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3 0 2[P]

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Rev. 3/6/11 Page 2/2

16

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Figure 4: Note DurationsArr. Rick McKeon

Rev. 10/15/11 Page 1/2

TAB

Exercise #1

0

1

0

2

0

3

0

4

0

1 (2)

0

3

0

4

TAB

3

Exercise #2

0

1

0

&

0

2

0

&

0

3

0

4

0

1

0

2

0

&

0

3 (4)


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Figure 4: Note Durations -

Rev. 10/15/11 Page 2/2

TAB

5

Exercise #3

0

1 e &

0 0 0

2

0

&

0

3

0

&

0

4

0

1

0

&

0

2

0

&

0

3

0

4

TAB

7

3

3

Exercise #4

0

1 triplet

0 0 0

2

0

&

0

3

0

&

0

4

0

1

0

&

0

2

0

& (3)

0

&

0

4


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Figure 5: Practice LicksArr. Rick McKeon

Rev. 10/15/11 Page 1/2

4 4

2[S]

Lick #1

1

0

3

&02

0

&

0

3

0

0 4

2[S]

1 e &

3

0

02

0

&

0

3

0

0 4

3

Lick #2

(1)

0

2

2

3

4

4

0

1

0

&02

0

&

0

3

0

&

0

0 4

5

0

Lick #3

1

7

&

5

20&

0

3

0

4

23

1

0

&

12

2

0

&

00

3 (4)


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Rev. 10/15/11 Page 2/2

7

0

Lick #4

1

7

&

5

20&

0

3

0

&

0

4

3

3

1 triplet

20

3

2

2 triplet

10

0

3

0

&0 4


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Figure 6: Rest SymbolsArr. Rick McKeon

Rev. 8/28/11

TAB

quarter note rest eighth note rest

TAB

2

sixteenth note rest half note rest

TAB

3

whole note rest


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Figure 7: ExercisesRests and Holds Arr. Rick McKeon

Rev. 8/28/11

4 4 0

Exercise #1

1

0

2 Rest

0

4

0

1 Rest

0

3 (4)

3

0

Exercise #2

1

0

2

0

3

0

4 Hold

0

2

0

3

0

4

5

0

Exercise #3

1 Hold &

0 0

3

0

4

0

1 Rest

0

3

0

4

7

0

Exercise #4

1

0

2 Rest

0

4

0

1

0

2 Hold

0

4


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Figure 8: Practice LicksRests and Holds Arr. Rick McKeon

Rev. 8/29/11

4 4

Lick #1: Quarter Note Rest Pickup

(1)

0

2

2

3

4

4

0

1

0

&02

0

&

0

3

0

0 4

3911

Lick #2: Rests and Hold in Ending

1 (&)02

0

&

9

3

8

&

0

4 (1)

16

2 (&)

17

3 (&) (4)

5

Lick #3: Eighth Note Rest Pickup

(1)0&

00

2

01

3

02

4

2[SL]

1

03

&02

3

&

0

30&

3

4

7

0

Lick #4: Hold

1

3

&

2

20&

0

3

0

&

0

4 (1)

1

&

2

2

00

3 (4)


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Figure 9: Movable Chord FormsMajor, Minor, and 7th Chords

Fm = 1,b3,5F G A Bb C D E F

I

L

F1

Abb3

C5

F1

R

I

F = 1,3,5F G A Bb C D E F

MI

L

F1

A3

C5

F1

R

F7 = 1,3,5,b7 F G A Bb C D E F

MI

F1

A3

C5

Ebb7

R

I

D = 1,3,5D E F# G A B C# D

R

I

L

F#3

A5

D1

F#3

M

Dm = 1,b3,5D E F# G A B C# D

IM L

Fb3

A5

D1

Fb3

R

A = 1,3,5A B C# D E F# G# A

I I I

E5

A1

C#3

E5

I

Am = 1,b3,5A B C# D E F# G# A

MI

L

E5

A1

Cb3

E5

R

A7 = 1,3,5,b7 A B C# D E F# G# A

I I I

E5

A1

C#3

Gb7

I

L

D7 = 1,3,5,b7 D E F# G A B C# D

RL

F#3

Cb7

D1

M

F#3

I

Rick McKeon 2011


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Figure 10: Movable Chord FormsThree Forms, Four Positions

G

7

9

12

3

5

C

7

9

12

3

5

D

7

9

12

3

5

Rick McKeon9/2/11


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Figure 11: Chords for Boil Them Cabbage Down

G C G D71 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

G C G D7 G1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4


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Boil Them Cabbage DownArr. Rick McKeon

Page 1/4

4 4 0

GOpen Position

Boil

0

0 them cab -

00

0

0

bage

0

C

1

down

2

0

1

boys,

2

0

12

3

G

0

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0

0 them hoe

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0

cakes

0

D7

2

round.

0

0

2

0

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2

0

5

G

0

Only

0

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song

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that

0

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I

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0can sing

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is

2

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boil

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2

0

D7

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2

bage

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0

down.

0

0

0

0

0


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Page 2/4

9

G

4

5th Fret

35

43

5

4

5

C

55

5

55

5

5

5

11

G

43

5

43

5

4

5

D

23

4

0

43

2

4

13

G

43

5

43

5

4

5

C

55

5

55

5

5

5

15

G

43

5

D

23

4

2

4

G

5

53 4

53 4


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Page 3/4

17

7 G

9

t ret

98

9

98

9

8C

10

108

9

108

10

19

7 G

9

98

9

98

9

7 D

7

7 7

7

7

7 7 7

21

7 G

9

98

9

98

9

8C

10

108

9

108

10

23

7 G

9

89

7 D

7

7 7

7

G

5

53 4

53 4


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Page 4/4

25

12G

12

1212

12

1212

12

12C

1213

14 141312

27

12G

12

1212

12

1212

12

10D

1110

1210

11

12

29

12G

12

1212

12

1212

12

12C

1213

14 141312

31

12G

12

1212

10D

1110

12 121212

12G


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Figure 12: Harmonizing The 1st and 3rd StringsKey of G - Harmonizing in Sixths

Rick McKeon11/29/11

7

10

12

3

5

15

17

G - E

A - F#

B - GC - A

D - B

E - C

F# - D

G - E

A - F#

B - G

Notes:

1. Diamond = 1st string G

2. All notes on bothstrings are from the GMajor scale.

3. Using the "F" formnotes of the chord go1 3 5 1

4. 1st and 3rd stringnotes are a separated bya sixth. They come from

the chords in the key:I ii iii IV V vi vii(dim)

5. Intervals are either M6 = 4 1/2 steps or m6 = 4 steps

Therefore the 3rd stringnote is either 2 frets or 1

fret below the 1st stringnote.

Chords in GUsing the"F" Form


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Figure 13: Harmonizing the 1st and 2nd StringsKey of G - Harmonizing in thirds

Rick McKeon11/29/11

7

10

12

3

5

15

17

C - E

D - F#

E - G

F# - A

G - B

A - C

B - D

C - E

D - F#

E - G

Notes:

1. Diamond = 2nd String G

2. All notes on both stringsare from the G Major scale.

3. Using the "D" form notesof the chord go3 5 1 3

4. 2nd and 1st string notesare separated by a third.They come from the chordsin the key:I ii iii IV V vi vii(dim)

5. Intervals are either: M3 = 2 steps or m3 = 1 1/2 steps

Therefore the 1st stringnote is either on the same

fret or one fret higher than the 2nd string note.

Chords in GUsing the "D"

Form

B - D


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Figure 14: Chords in a Key

Rick McKeon10/23/11

C D E F G A B C

FACE

EGBDF

Triads Built on Each Scale Tone

C D E F G A B C

FAC

E

EGBDF

The C Major Scale

EG FA GB AC BD CE DF EG

m3M3

M3m3

m3m3

m3M3

M3m3

m3M3

Therefore:C Dm Em F G Am Bdim CI ii iii IV V vi vii(dim) I


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Figure 15: Harmonizing the 2nd and 3rd StringsKey of G - Harmonizing in Thirds

Rick McKeon11/29/11

7

10

12

3

5

G - B

B - D

C - E

D - F#

E - G

F# - A

G - B

Notes:

1. Diamond = 3rd String G

2. All notes on bothstrings are from the GMajor scale.

3. Using the "A" formnotes of the chord go5 1 3 5

4. 2nd and 3rd stringnotes are separated by a third. They come from thechords in the key:I ii iii IV V vi vii(dim)

5. Intervals are either: M3 = 2 steps or m3 = 1 1/2 steps

Therefore the 3rd stringnote is either on thesame fret or one frethigher than the 2ndstring note.

Chords in GUsing the"A" Form

A - C


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Figure 16: Musical Intervals

What Is A Musical Interval?

A musical interval is the distance between two notes. An interval has two names:

Last Name = Count the distance between the letter names of the notes.Ex. from C to E is a third.

First Name = Major, minor, perfect, diminished, augmented - depending on the actualdistance between the notes.

Intervals Number of Whole Steps

Diminished Minor Major AugmentedSecond 0 1/2 1 1 1/2Third 1 1 1/2 2 2 1/2Sixth 3 1/2 4 4 1/2 5Seventh 4 1/2 5 5 1/2 6

PerfectUnison 0 1/2Fourth 2 2 1/2 3Fifth 3 3 1/2 4

Octave 5 1/2 6 6 1/2

The Major Scaledo re mi fa sol la ti do1 2 3 4 5 6 7 1 (8)Whole Whole Half Whole Whole Whole Half


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From the root the intervals of the major scale are:1 M2 M3 P4 P5 M6 M7 P8

In words that would be:do do = Unisondo re = Major Second

do mi = Major Thirddo fa = Perfect Forthdo sol = Perfect Fifthdo la = Major Sixthdo ti = Major Seventhdo do = Perfect Octave

Rules for making intervals bigger or smaller

Decrease a Major interval by step and it becomes MinorDecrease a Minor interval by step and it becomes DiminishedIncrease a Major interval by step and it becomes AugmentedDecrease a Perfect interval by step and it becomes DiminishesIncrease a Perfect interval by step and it becomes Augmented

Note:There is no such thing as a Major or Minor Forth

There is no such thing as a Major or Minor Fifth

The Sound of Ascending IntervalsMajor Second: ARE YOU sleeping?Minor Third: WHAT CHILD is thisMajor Third: MICH AEL ROWPerfect Fourth: HERE COMES the bridePerfect Fifth: TWINKLE, TWINKLE little star

Major Sixth: IT CAME upon a midnight clear, NBC = 1 6 4Minor Seventh: THERES A place for us (from West Side story)Major Seventh: All at ONCE AM I, several stories highOctave: SOME-WHERE over the rainbowMajor Triad (1 3 5): Mich ael - Row or sound of major chord


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Figure 17: Circle of Fifths

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