Last time we looked at the numerical shorthand system applied to the major scale and the intervals that are diatonic (i.e., within the key) to any major key. I hope you’ve started to digest this concept, because this month there are more intervals to learn. The chromatic scale consists of 12 semitones or halfsteps. To be able to learn tunes out of thin air, you’ll need to be able to hear all of the intervals that occur within the chromatic scale. If you already know the major diatonic intervals, there are only a few more to go. The chromatic scale’s intervals fill in the whole-steps that exist in the major scale, and many songs use them in their root motion. Examples 1a and 1b show the ascending and descending chromatic scale in C, along with its intervals. Looking at the solfège (“do-re-mi”) syllables, you’ll notice that on the way up the scale, the shared intervals are given a name that identifies it with its diatonic relative. For example, scale degree 1 is called do, and #1 is di (pronounced “dee”). On the way down the scale, the same is true: 7 is ti (“tee”), and b7 is te (“tay”). In the real world, the solfège names of the chromatic intervals don’t come into play very often, but they are handy to know from a theoretical standpoint. Play through the chromatic scale, listening carefully to the sound of each note and its relationship with the tonic (C). Ex. 2 shows the intervals from the chromatic scale that are not also diatonic to the major scale. Notice that these intervals come in pairs; the intervals in each pair sound the same, but they have different names. Because each interval can be referred to with either name depending on the application, it’s good to know that #4 is the same sound as b5, for instance. Work the chromatic intervals in Ex. 2; get used to the way they sound and how they lie on the fingerboard. Remember that there are always at least two ways to play each of them. Now let’s simulate actual combat conditions: You’re filling in with a cover band, and they call a tune you don’t know. The song is a big crowd favorite, so they’re going to play it whether you know it or not. The guitarist gives you this info: “It’s a two-bar phrase in F, and it’s 1–4–b3–b6, all eighth-notes.” Ex. 3 is what you
	—Bass Player Technical Editor Jonathan Herrera studied music at the University of Southern California and the Los Angeles Music Academy. He plays with a host of Bay Area luminaries, including recent projects with Atma Anur, Rhiannon, Gregory James, and his own band, Karate Snoopy. You can email him at jherrera@musicplayer.com.
	Orginally published in BASS PLAYER magazine. Copyright © 2006 CMP Entertainment Media. All rights reserved. Used by permission.