In the first volume of Fretboard Theory, I always refer to keys by the parent major scale and, when necessary, the mode. I do this because I want to train you as a guitarist to recognize the parent major scale, its chords, and modes. Probably more importantly, I also want to show that you do not need to learn a new pattern for each of the seven modes. Instead, you simply use the same parent major scale patterns, but play them over a chord or chord progression that focuses on a different scale degree. See Fretboard Theory, Course 8 for a full discussion.
Now that you are trained to identify a key by its parent major scale, I want to expand on that skill here in Fretboard Theory Volume II. You are going to begin to think about keys in a new way, and learn some new concepts and terminology while you're at it including:
- The tonic
- Major and minor keys
- Relative major and relative minor
- Key signatures
- The terms accidentals and diatonic