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Note, the chromatic letter-line we’ve used so far (employing sharps alone) is only a starting point. Eventually, you will need (not only) two octaves of lettered and numbered chromatic scale tones (of the given tonic), but you’ll also have to include the enharmonically equivalent letter spellings of all the non-Major scale-tones (letters) within your chromatic letter-line. In other words; the completed letter-line will look more like the one shown below and continue (i.e. repeat) into the next (the second) octave:
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Don’t let this more complex letter-line alarm you (too much). First understand that it's complexity is “normal” and natural to standard procedure, and not caused by the Cipher System. Also understand that as a rule, we will side-step and avoid music’s letters (and letter-spelled formula) as much as possible. The spelling system is quite confusing and we really won’t need letters for some time. We can learn almost everything we really want to learn about music theory and the guitar fretboard from numbers alone (standard and Cipher combined) while using the letters and spelled materials from only one or two keys — C and A (parallel and relative) for example.
To help you with your eventual spelling needs, though, I’ve also provided a universal Speller-Transposer. The Speller-Transposer is a comprehensive table of spelled chromatic scales in all keys and including all common enharmonic spellings (of relevant tones). From those large chromatic letter lines you can isolate the correct letter spelling for any diatonic material or formula (interval, scale, chord) in any key. In other words, I’ve already done much of the necessary spelling work for you. Also, Chapter Four Part-One (of the upcoming book) includes exhaustive coverage of music theory’s spelling system. So don’t worry for now about letters, relax. Remember, we’ll be using counting numbers here (i.e. half-step numbers, semitones), as our primary means of communication and discovery.
Back to Chromatic Numbers
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