Compose Yourself: Transposition, Chuck-Berry Style

This is what we mean by moveable: If we slide the whole thing up the fret board, the sound pattern goes with it, enabling us to play in any major key. In order to preserve the pattern, we will have to play on closed strings (no open strings). To do this, we use the first finger to cover all the notes that were on open strings in the open-position C scale. In other words, all four fingers will be engaged, with the first finger taking over the role of the nut. The most important point is to keep your first finger on the same fret at all times and don’t let it wander.

Ex. 2 shows the C scale form transposed up one fret to the “difficult” key of Db major, whose key signature has five flats. Notice that the note names change, but the sol-fa syllables are the same as they were in the C scale. The preservation of sol-fa syllables is characteristic of chromatic transposition (unless you’re using the “fixed Do” system favored in Eastern Europe, but please don’t get me started on that).

Important: The left-hand index finger plays all the notes on fret 1, the middle finger handles all the notes on fret 2, the ring finger handles all the notes on fret 3, and the pinky handles all the notes on fret 4. This “one finger to one fret” pattern is basic to good guitar technique.

Ex. 2) Play the Db Major Scale Using the C Scale Form

Start playing on string (6):

(6): 1-2-4 (F, Gb, Ab; Mi-Fa-Sol; index, middle, pinky)

(5): 1-3-4 (Bb, C, Db; La-Ti-Do); index, ring, pinky)

(4): 1-3-4 (Eb, F, Gb; Re-Mi-Fa; index, ring, pinky)

(3): 1-3 (Ab, Bb; Sol-La; index, ring)

(2): Frets 1, 2, 4 (C, Db, Eb; Ti-Do-Re; index, middle, pinky)

(1): Frets 1, 2, 4 (F, Gb, Ab; Mi-Fa-Sol; index, middle, pinky)

Ex. 3 below shows the moveable fingering pattern for the C scale form. This pattern works everywhere, as long as the index finger stays on the same fret and doesn’t wander.

Ex. 3) Fingering for the Moveable C Scale Form

Start playing on string 6, any fret:

(6) 1-2-4

(5) 1-3-4

(4) 1-3-4

(3) 1-3

(2) 1-2-4

(1) 1-2-4

Learn to play Ex. 3 forward and backward, (6) to (1) and (1) to (6). Then try sliding your index finger up or down the fret board and repeat the fingering pattern. This is purely a mechanical skill, but it enables you to play in any key. Remember that all melodies and chords associated with the form are moveable, too. This is what would have enabled Chuck Berry to instantly transpose “Johnny B. Goode” from A to Bb.

The key-centers in Ex. 4 below follow the circle of 5ths: C – F – Bb – Eb – Ab – Db – Gb/F# – B – E – A – D – G – C. The C scale form moves to accommodate each one. Sharps and flats change automatically. The fingering never changes, except for C major because of the open strings.

Ex. 4) How to Play the C Scale Form in 12 Keys

1)  C major (no sharps or flats, all “white keys” on piano): Play as in Ex. 1.

2)  F major (one flat): Place your left-hand index finger on string (6), 5^th fret and play the scale form shown in Ex. 3.

3)  Bb major (two flats): Place your index finger on (6), 10^th fret, and play the scale form in Ex. 3.

4)  Eb major (three flats): Index finger on (6), 3^rd fret, play as in Ex. 3.

5)  Ab major (four flats): Index finger on (6), 8^th fret, play Ex. 3.

6)  Db major (five flats): Index finger on (6), 1^st fret, etc.

7)  Gb major/F# major (six flats or six sharps): Index finger on (6), 6^th fret

8)  B major (five sharps): Index finger on (6), 11^th fret

9)  E major (four sharps): Index finger on (6), 4^th fret

10) A major (three sharps): Index finger on (6), 9^th fret

11) D major (two sharps): Index finger on (6), 2^nd fret

12) G major (one sharp): Index finger on (6), 7^th fret

(1 again) C major: You’ve come full circle (see Ex. 1)

Incidentally, it is not important that the lowest note in the C scale form is scale tone 3, rather than the tonic “Do.” The “C form” interlocks with four other forms to form the famous CAGED system, which covers the entire fret board in all major keys. When jazz great Howard Roberts told me about CAGED back in 1973 or so, he mentioned that most guitarists he knew got by on only two, or at most three of the five forms. This is by no means the only way to slice and dice the fret board. Jazz virtuoso and educator Jimmy Bruno, for example, has a similar system of interlocking scale forms (see “Six Essential Fingerings for the Jazz Guitarist,” a Mel Bay publication). My friend, Professor Steve Crowell, has also produced a brilliant series of books and videos about his “84 EQs” concept, which is based on the teachings of the late jazz guitar genius Warren Nunes (check out Nunes’ virtuosic “Bach in Blue” on YouTube). There are only seven simple forms in Steve’s system, which, when multiplied by twelve keys, make up the 84 EQs.

What all of these systems have in common is the concept you have just learned: moveable fingerings. The ability to slide your hand up or down and repeat the same muscle movements to play in another key makes chromatic transposition on guitar extremely easy.

Now you know about the ecstasy. The agony occurs when you try to transpose across the fret board. I will tackle this problem and other topics, such as diatonic and modal transposition, next month.

‘Til then, practice hard, and keep an eye out for the dialog games in my next SongwritingABCs video. And if you want to be in demand as a band member, learn how to transpose.