2027 Hatter Notes

The Hatter's Diary

28 Jul 2026

I'm aware that I'm a year early.

Now that we've solved the riddle, it's time to reacquaint ourselves with the layout of Stuff & Nonsense VII: Mother Goose Suite, which was planned in 2024.  The piece will be scored in 6 movements, written in the key of G major for "goose."  I normally quote the themes of each set in the postludes of songs 4 and 7.  In this case, each of the Stuff & Nonsense themes from songs 1-6 will be paired with a nursery rhyme.

Mother Goose Suite

Here We Go Round the Mulberry Bush

    From Through the Looking-Glass and What Alice Found There, Chapter 4.

    Alice and the Tweedles were recalled to have sung it.

    This one will be used in each of the 6 movements.

Here we go round the mulberry bush,

The mulberry bush, the mulberry bush,

Here we go round the mulberry bush,

All on a frosty morning.

VII.1 Twinkle, Twinkle

    From Alice's Adventures in Wonderland, Chapter 7, sung by The Hatter.

    The Dormouse interrupts and sings the last 4 twinkles.

    Quotes S&N I. The Mouse's Tale, sung by The Mouse.

Twinkle, twinkle, little bat!

How I wonder what you’re at!

Up above the world you fly

Like a tea-tray in the sky.

Twinkle, twinkle—

Twinkle, twinkle, twinkle, twinkle—

VII.2 The Queen of Hearts

    From Alice's Adventures in Wonderland, Chapter 12, sung by The White Rabbit.

    Quotes S&N IV. The White Rabbit's Evidence, also sung by The White Rabbit.

The Queen of Hearts, she made some tarts,

All on a summer day:

The Knave of Hearts, he stole those tarts,

And took them quite away!

VII.3 Tweedeldum and Tweedeldee

    From Through the Looking-Glass and What Alice Found There, Chapter 4, sung by Alice.

    Quotes S&N VI. The White Queen's Riddle, sung by The White Queen & The Red Queen.

Tweedledum and Tweedledee

Agreed to have a battle;

For Tweedledum said Tweedledee

Had spoiled his nice new rattle.

Just then flew down a monstrous crow,

As black as a tar-barrel;

Which frightened both the heroes so,

They quite forgot their quarrel.

VII.4 Humpty Dumpty

    From Through the Looking-Glass and What Alice Found There, Chapter 6, sung by Alice.

    Quotes S&N V. Humpty Dumpty's Poem, sung by Humpty Dumpty.

Humpty Dumpty sat on a wall:

Humpty Dumpty had a great fall.

All the King’s horses and all the King’s men

Couldn’t put Humpty Dumpty in his place again.

VII.5 The Lion and The Unicorn

    From Through the Looking-Glass and What Alice Found There, Chapter 7, sung by Alice.

    Quotes S&N III. The Lobster Quadrille, sung by The Mock Turtle.

The Lion and the Unicorn were fighting for the crown:

The Lion beat the Unicorn all round the town.

Some gave them white bread, some gave them brown:

Some gave them plum-cake and drummed them out of town.

VII.6 Hush-a-by Lady

    From Through the Looking-Glass and What Alice Found There, Chapter 9.

    Sung by The Red Queen, who then requested that Alice sing it as well.

    Quotes S&N II. The Duchess' Lullaby, sung by The Duchess & The Cook.

Hush-a-by lady, in Alice’s lap!

Till the feast’s ready, we’ve time for a nap.

When the feast’s over, we’ll go to the ball—

Red Queen, and White Queen, and Alice, and all!

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The Hatter's Diary

28 Jul 2026

I'm aware that I finished the last post less than a minute ago.

However, the first post was all about cold, hard facts, and this one will contain some initial ideas and reference material; where the previous post set up the boundaries of my playground, this one will unleash the monsters we'll be playing with.

One idea I had had previously was to build each movement in such a way that it quoted its predecessors, similar to the way many children's stories and songs are structured.  Like "There's a Hole in the Bottom of the Sea."

An example of such a structure might be:

1.  Mulberry

    Twinkle

    Mulberry

    Twinkle & Mouse's Tale

2.  Mulberry

    Queen of Hearts

    Twinkle & Mouse's Tale

    Mulberry

    Queen of Hearts & White Rabbit's Evidence

3.  Mulberry

    Tweedles

    Queen of Hearts & White Rabbit's Evidence

    Twinkle & Mouse's Tale

    Mulberry

    Tweedles & The White Queen's Riddle

4.  Mulberry

    Humpty

    Tweedles & The White Queen's Riddle

    Queen of Hearts & White Rabbit's Evidence

    Twinkle & Mouse's Tale

    Mulberry

    Humpty & Humpty

5.  Mulberry

    Lion Unicorn

    Humpty & Humpty

    Tweedles & The White Queen's Riddle

    Queen of Hearts & White Rabbit's Evidence

    Twinkle & Mouse's Tale

    Mulberry

    Lion Unicorn & Lobster Quadrille

6.  Mulberry

    Hush-a-by Lady

    Lion Unicorn & Lobster Quadrille

    Humpty & Humpty

    Tweedles & The White Queen's Riddle

    Queen of Hearts & White Rabbit's Evidence

    Twinkle & Mouse's Tale

    Mulberry

    Hush-a-by Lady & Duchess' Lullaby

Another idea I had was to make sure to quote Twinkle in minor, because it appears that way in the ending fugal section of Father William.  How fortunate that this passage was originally scored in G minor, while this suite happens to be in G as well.  I'm never reaching for the stars, and yet I'm constantly being inundated with stardust.  Somebody or something must love me tremendously, and to quote Twinkle in major would not only be a clumsy misstep, but a rude rejection of such a beautiful gift.  We must mind our manners.

In 2024, I had decided that Mulberry Bush, Twinkle, and Hush-a-by (as sung to Purcell's Lillibullero) were worthy melodic quotes, meaning that their scores had been published before 1871 (Through the Looking-Glass and What Alice Found There), and they appear to have been popular enough that Alice readers would have brought them to mind.

My initial conclusions were that the Queen of Hearts "did not pass the test of time," and the Tweedles "didn't lend themselves well to singing."  Humpty only passed the margin by 1 year, and there's no indication that either Humpty or The Lion and The Unicorn ever made it big.  Though these four contenders aren't as strong as the first three, it's likely I'll use them.

Library of Potential Nursery Rhymes

Sheet Music, 1879

The Singing Master, 1840

Nursery Rhymes with Old Tunes, 1846

British Library Music Collections English Songs Vol. 7, 1775

National Nursery Rhymes and Nursery Songs, 1872

Juvenile Minstrelsy, 1852

The Beggar's Opera, 1735

The Baby's Opera, 1877

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The Hatter's Diary

28 Jun 2026

I'm aware, again, that I finished the last post less than a minute ago.  Sometimes it takes three posts before we're organized and ready for hibernation.

I have scores for every nursery rhyme except the Tweedles.  But would you know it?  Fortune favors the hatters.  English poet John Byrom (1692-1763) is credited with the epigram that named the Tweedles in the first place, and those two just so happen to be composers.  From 1725:

    Some say, compar'd to Bononcini

    That Mynheer Handel's but a Ninny

    Others aver, that he to Handel

    Is scarcely fit to hold a Candle.

    Strange all this Difference should be

    'Twixt Tweedle-dum and Tweedle-dee!

The nursery rhyme would be printed 80 years later, in Original Ditties for the Nursery.  Further investigation into Giovanni Bononcini (1670-1747) reveals that he lived in London from 1720 to 1732, and for that time, he was basically in a popularity contest with Handel.  In fact, there was a political divide; the Tories favored Handel while the Whig party favored Bononcini.  One of Bononcini's most famous works was his opera Xerse, written in 1694.

Originally, the opera Xerse was composed by Francesco Cavalli (1602-1676) in 1655.  The libretto, written by Nicolò Minato, was loosely based on Book 7 of The Histories by Herodotus (484-425 BCE).  Nearly 40 years after Cavalli's opera, Bononcini wrote a new opera by the same name, and Minato's libretto was adapted by Silvio Stampiglia.  But then in 1738, after another 40 years, Handel (1685-1759) wrote Serse, with Stampiglia's work adapted by an unknown librettist.  All three of these operas begin with the aria, "Ombra Mai Fù," in which Xerxes I, the King of Persia, sings tenderly to a tree for providing him shade.

To recap, the original Tweedles were none other than Bononcini and Handel, and both of them are remembered today in part for their renditions of an opera about Xerxes (518-465 BCE), the King of Persia.  Coincidentally, the most famous aria in those operas happens to be a song about a tree.

Chapter 4 of Through the Looking-Glass, begins, "They [the Tweedles] were standing under a tree, each with an arm around the other's neck..."  Alice then recalls that she and the Tweedles had been singing Here We Go Round the Mulberry Bush, as the music "seemed to come from the tree under which they were dancing..."  The white rattle that begins the battle is spotted under a tree.  And when the brothers battle, they hit trees.  As the monstrous crow enters the scene, Alice hides among the trees.  I do believe we have run into some scores for the Tweedles, and composed by the original Tweedles, no less.

Cavalli: Ombra Mai Fù

Philippe Jaroussky

Cavalli: Ombra Mai Fù

Bononcini: Ombra Mai Fù

Cecilia Bartoli

Bononcini: Ombra Mai Fù

Handel: Ombra Mai Fù

Andreas Scholl

Handel: Ombra Mai Fù

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The Hatter's Diary

00 Jun 2027

Score:

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The Hatter's Diary

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The Hatter's Diary

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The Hatter's Diary

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The Hatter's Diary

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The Hatter's Diary

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Rainbow Follies

With the closing of KLCC at the end of December, Malinda and I finally had the time to return to our own programs.  We've done it before:

16 songs from 1916

Performed 02 July 2016

Wine, Chocolate & Medleys

Performed 23 December 2017

A Dozen Duets

Performed with Celeste Coburn 29 June 2019

Then covid hit, and with it, the KLCC choir pretty much collapsed.  On a good day, we had a choir of five, and after two deaths, there wasn't much to salvage.  The congregation itself wasn't all that much bigger than the choir had been, and we continued to meet this way, like a couple of stray cats in an abandoned stadium, for five more years.  During that time, Malinda and I funneled our efforts into designing the KLCC Christmas cantatas.  We didn't have many resources, but we did what we could to make them special.  The idea of Rainbow Follies had been in the works for ages, but finding the time to learn the music, write the script, and plan the party was another thing.  Fast forward to 2026, a decade after our first production, and we hardly missed a Sunday.  There were the occasional trips or celebrations that prevented us from meeting up, but little by little, we built the program.  It's hard to explain exactly what we did on Sundays, but it was always some combination of:

    Learning songs - working on the hard parts

    Trying them in different ways with different ideas

    Changing the order of the program and testing the flow

    Writing or editing the script

    Shopping for props, stationary, rainbow plates, etc.

    Just hanging out and being friends

The hardest step is always to pick a date.  One of our goals was to give the KLCC people a reason to get together again, but mostly, we just wanted everyone to have fun.  Pianistically, my focus was to feel more secure under pressure, particularly with stride pattern and jumping.  I think I achieved that, or at least progressed, but that hardly mattered because I still freaked out due to my kryptonite - page turns - and fumbled pretty badly twice.  Anyway, nobody seemed to mind too much.

Things we'll keep:

    The craft table!

    4:00 pm - people hate driving at night, and the party started 15 minutes early

    Programs with questions and clipboards - we loved all the different thoughts

    Audience participation/singalong sections

    The valise of props

Stats:

    10 cancellations

    24 guests including our families

    13 songs

    55 mins including script

    3-4 hour party

    Crowd Favorite: Where's That Rainbow

Programs

Party Time

Mini Macs, Rainbow Gummies, Skittles, M&M's

Prosecco, Wine, Juices, Sparkling Waters, Sodas

Iced Teas!

Cheese Plate

Charcuterie

Rainbow Fruits

Family

Crafters

Me!

Our Assistant Mills

Purple Fascinator

Derby Hat

Parentals

Closing Bows

Kids on the Stairs

Post Party Activities

Rainbow Follies

---------------------------------PROGRAM---------------------------------

I’m Always Chasing Rainbows

Carroll & McCarthy, 1918

Based on Chopin’s Fantasie-Impromptu

Rainbow of Girls

Irving Berlin, 1927

Where’s That Rainbow?

Rodgers & Hart, 1926

There’s A Rainbow ‘Round My Shoulder

Jolson, Rose, & Dreyer, 1928

Got A Rainbow

Gershwin & Gershwin, 1928

My Rainbow Girl

Hirsch & Wolf, 1917

If You Want The Rainbow

Levant, Rose, & Dixon, 1928

Wait For The Rainbow Dearie

Baer, 1908

You Are My Rain-Beau

Hirsch, Caesar, & Anderson, 1922

Rainbow

Wenrich & Bryan, 1908

At the Rainbow’s End

Herbert & Young, 1924

Bow Of Promise

Tucker & Canning, 1863

The Rainbow Temperance Song

Thomas & Judson, 1868

Piano Scale Fingerings

Chapter 1: Introduction

A few days ago, I gave my kids a lecture in the car, proving that B♭ major has the most irregular of all the scale fingerings.  I found my own sermon so riveting that I decided to write it down.  So now, I will teach you my method to understanding/generating the major and minor piano scale fingerings.  We'll begin with major and harmonic minors, and then proceed to the natural and melodic minors.  We shall have charts and colors, and it will be a gay old time.

Before we begin, a bit of housekeeping.  First, if you don't know how to form scales, try my chord and scales relationship post.  I also have a more comprehensive Oom-Pah post, if you're insatiable.

Second, I am of the opinion that we must learn hands together patterns.  In my teaching experience, students would rather practice hands separately for some time, blindly throw the hands together, and hope that some combination of muscle memory and their favorite religion will see to the rest.  Because our brains love symmetry, our natural preferences will be obliterating our hands separate practice in a hurry.  In other words, the way nearly everyone learns piano scale fingerings is a pretty good way not to learn them.  Each of my children, for example, has been practicing not learning scales for over 6 years, and they have succeeded.

Last, I am of the belief that we do not need to memorize every finger for every note of every scale.  We only need to learn the fingerings or concepts that leave us no choices.  My Rubik's Cube posts are based on this line of thinking - if certain structures force certain things to happen, there is absolutely no reason to memorize or even keep track of them.  I will be telling you everything you need to know, and if you can remember which scale belongs to which category, you should be able to figure out the rest.

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Chapter 2: Terms

These terms were originally inspired by the book, "N. Jane Tan's Scales, Chords, & Cadences."  The top row of these charts show right hand fingerings, and the bottom row shows the left.  They're all very easy, except for the    BRIDGE   .

Claws

Hooves

Duck Feet

THREES    3 3 3 3	ONES    1 1 1 1
CLAWS    1 2 2 1 1 2 2 1	BRIDGE    4 1 2 2 1 4 4 1 2 2 1 4
W's    2 3 4 4 3 2 2 3 4 4 3 2	V's    2 3 3 2 2 3 3 2
DUCK FEET    1 2 3 3 2 1 1 2 3 3 2 1	HOOVES    3 4 4 3 3 4 4 3

Note to self: I will never again figure out how to center a chart within a chart.  The inserted chart must be formatted as "top centered" under "table properties" outside of blogger before copying and pasting.

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Chapter 3:    THE BRIDGE SCALES   

C	G	D	A	E
c	g	d	a	e
c♯	g♯		A♭

My guess is that everybody reading this post will know the fingering of the C major scale, so we'll start there.  Befitting to my reputation of being generous, I'll include two octaves.  This is an ascending C major scale.

C

D

E

F

G

A

B

C

D

E

F

G

A

B

C

The first step is to put in our    3's   .

		3			3				3			3
		E			A				E			A
		3			3				3			3

Next, let's take a look at our    CLAWS   .

			1	2						1	2
			F	G						F	G
			2	1						2	1

This one is the hardest - the    BRIDGE   .  Bridges can "bridge" us from one octave to the next, and they need a bit more practice than the rest.

						4	1	2
						B	C	D
						2	1	4

Every pattern except for the    BRIDGE    is excellent for block practice.  Remember, practicing 2 octaves gives you only one iteration of the    BRIDGE   , so you're robbing yourself of opportunity.  Jump to 3 or 4 octaves the very moment you summon the bravery.  If you like practicing 3 octaves, consider a triplet rhythm so that your beats line up.  (I actually like following the beat when it doesn't line up, too.)

Altogether, the standard    BRIDGE    pattern looks like this:

1

2

4

5

C

D

E

F

G

A

B

C

D

E

F

G

A

B

C

5

4

2

1

Working through the 12 major and 12 harmonic minor scales, this    BRIDGE    scale pattern accounts for 10 of the 24.

They are: C, c, G, g, D, d, A, a, E, and e.

1	2												4	5
5	4												2	1

There are also 3 additional    3      BRIDGE    scales, which start on    3's    and look like this.  Notice that in this case, bridges do not bridge us across the octave.

They are: A♭, c♯, and g♯.

A note to close the chapter.  On September 23rd of 2018, I suddenly realized that c♯harmonic scale and the g♯ harmonic scale feel exactly the same.  I recently asked my 10-year-old daughter to find the two scales that feel exactly the same, and she first answered G major and a harmonic minor.  Although the pair c♯ harmonic minor and g♯ harmonic minor feel more the same to me due to the fact that they sound more the same, technically, she's also correct.

That reminds me of something funny George said last week.  "  You're not like everybody else; there are only one and a half of you in the world."

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Chapter 4:    THE WAVE SCALES   

B	F
b	f
D♭	G♭
b♭	e♭

Notice that the    BRIDGE SCALES    work for almost all of the white keys.  We'd love for them to work for the other ones (B, b, F, f) as well, but alas, those lay some black keys out under our thumbs.  We avoid that because moving our hands in towards the fallboard when not necessary is not efficient.

And so we come to our first rule of scale fingering: Never place a first finger on a black key.

We call these the    WAVE SCALES    because we put our  W's  on the groups of 3 black keys and our  V's  on the groups of 2 black keys.  That way, our thumbs can stay on the white keys between those groupings.

Let's take a look at B major, which has the same fingering as b minor.

1

5

B

C♯

D♯

E

F♯

G♯

A♯

B

C♯

D♯

E

F♯

G♯

A♯

B

4

1

F is a little less intuitive, but it relies on the exact same principles.  I'll demonstrate in f minor because it has more black notes to ground us into the    WAVE    pattern, but it shares the same fingering as F major.

1

4

f

g

a♭

b♭

c

d♭

e♮

f

g

a♭

b♭

c

d♭

e♮

f

5

1

Notice that with    WAVE SCALES   , we set up by following groups of black notes with our long fingers, regardless of our starting notes.     WAVE SCALES    can start on any finger, unlike the 10    BRIDGE    scales, which always start with 5's and 1's, or the 3    3      BRIDGE    scales, which start with    3's   .  While    WAVE SCALES    are based on a pattern that could work with almost any scale, the    BRIDGE    and    3      BRIDGE    scales have a cookie cutter solution over the shifting terrain below.

The    WAVE SCALES    are: B, b, F, f, D♭, G♭,  b♭, e♭

Remember that you have to find your starting point!

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Chapter 5:    THE HOOF SCALES   

E♭

f♯

The hoof fingering divides the four long fingers into halves like hooves.  Or like this.

So if the    WAVE    pattern could work for almost any scale, why don't we just use them for everything?  Well, a lot of the time, as with the    BRIDGE    and    3      BRIDGE    scales, something else is more comfortable.  The easiest possible cross under is from a black key to a white key, so any time we get that chance, we'll take it.

This takes us to the second rule of scale fingering: Always prioritize crosses under a black key to a white key.

Notice that the 2    HOOF    scales have no groupings of 3, but only pairings of fingers.

E♭

F

G

A♭

B♭

C

D

E♭

F

G

A♭

B♭

C

D

E♭

f♯

g♯

a

b

c♯

d

e♯

f♯

g♯

a

b

c♯

d

e♯

f♯

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Chapter 6:    THE DUCKFOOT SCALE   

B♭

4			3				4			3				4
B♭	C	D	E♭	F	G	A	B♭	C	D	E♭	F	G	A	B♭
3			4				3			4				3

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Chapter 7: Natural & Melodic Minor Scales

f♯

c♯

g♯

Congratulations!  You know all of your major and harmonic minor fingerings!

For 9 of the 12 keys, the harmonic minor fingerings are the same as the fingerings for the natural and melodic minor scales.  But that's not true for these 3.

These scales also happen to be the ones in which the    CLAWS    become exceptionally lobster-like in the harmonic form, since they stretch from white key over adjacent white key to the next white key as they pass over that augmented second.

Because melodic minor changes when descending, we'll now ascend the first octave and then descend the second. ➚ ➚ ➚ ➚ ➚ ➚ ➚ ➘ ➘ ➘ ➘ ➘ ➘ ➘

f♯ natural minor

f♯

g♯

a

b

c♯

d

e

f♯

e

d

c♯

b

a

g♯

f♯

f♯ harmonic minor

f♯

g♯

a

b

c♯

d

e♯

f♯

e♯

d

c♯

b

a

g♯

f♯

f♯ melodic minor

2

4

1

3

f

g♯

a

c

c♯

d♯

e♯

f♯

e♮

d♮

c♯

b

a

g♯

f♯

4

2

1

4

c♯ natural minor

c♯

d♯

e

f♯

g♯

a

b

c♯

b

a

g♯

f♯

e

d♯

c♯

c♯ harmonic minor

c♯

d♯

e

f♯

g♯

a

b♯

c♯

b♯

a

g♯

f♯

e

d♯

c♯

c♯ melodic minor

c♯

d♯

e

f♯

g♯

a♯

b♯

c♯

b♮

a♮

g♯

f♯

e

d♯

c♯

g♯ natural minor

g♯

a♯

b

c♯

d♯

e

f♯

g♯

f♯

e

d♯

c♯

b

a♯

g♯

g♯ harmonic minor

g♯

a♯

b

c♯

d♯

e

f𝄪

g♯

f𝄪

e

d♯

c♯

b

a♯

g♯

g♯ melodic minor

g♯

a♯

b

c♯

d♯

e♯

f𝄪

g♯

f♯

e

d♯

c♯

b

a♯

g♯

Notice that each of these ascending and descending scales is either a    BRIDGE   ,    WAVE   , or    HOOF   , and the top turnaround of every scale becomes a part of the descending scale that follows.  In the case of f♯ ascending melodic minor, the bridge isn't as broken as it appears once you add more octaves.

Notice also that the turnarounds for f♯ melodic minor and c♯ melodic minor require us to skip a finger.  This should have felt weird, and that is because:

Our third rule of scale fingering: Unless turning at f♯ or c♯ melodic minor, never skip a finger.

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Chapter 8: Review

1. Never place a first finger on a black key. 2. Always prioritize crosses under a black key to a white key. 3. Unless turning at f♯ or c♯ melodic minor, never skip a finger.

   BRIDGE SCALES   

C, c, G, g, D, d, A, a, E, e

   3      BRIDGE SCALES   

A♭, c♯ natural & harmonic minors, g♯ harmonic & ascending melodic minors

   SPLIT BRIDGE SCALE   

f♯ ascending melodic minor

   WAVE SCALES   

(Starting spots listed)

B, b, F, f, D♭, G♭, b♭, e

c♯ ascending melodic minor, g♯ natural minor

F

G♭

B

D♭

e♭

f

g♯

b♭

b

c♯

   HOOF SCALES   

(Starting spots listed)

E♭, f♯ natural & harmonic minors

E♭

f♯

   DUCKFOOT SCALE   

B♭

Happy Practicing!

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Chapter 9: Epilogue

Just for fun, here are    WAVE    fingerings for every major and natural minor scale.

They also work for all harmonic and melodic scales other than d and g.

C

D

E

F

G

A

B

C

c

d

e♭

f

g

a♭

b♭

c

D♭

E♭

F

G♭

A♭

B♭

C

D♭

c♯

d♯

e

f♯

g♯

a

b

c♯

D

E

F♯

G

A

B

C♯

D

d

e

f

g

a

b♭

c

d

E

F♯

G♯

A

B

C♯

D♯

E

e

f♯

g

a

b

c

d

e

F

G

A

B♭

C

D

E

F

f

g

a♭

b♭

c

d♭

e♭

f

G♭

A♭

B♭

C

D♭

E♭

F

G♭

f♯

g♯

a

b

c♯

d

e

f♯

G

A

B

C

D

E

F♯

G

g

a

b♭

c

d

e♭

f

g

A

B

C♯

D

E

F♯

G♯

A

a

b

c

d

e

f

g

a

B♭

C

D

E♭

F

G

A

B♭

b♭

c

d♭

e♭

f

g♭

a♭

b♭

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Chapter 10: Arpeggio Fingerings

   STANDARD   

c	f	g
e

C	F	G
d	e	a
b

1	2	3	1	2	3	5
5	4	2	1	4	2	1

   V's   

D	E	A
B		G♭

C	F	G
d	e	a
b

1	2	3	1	2	3	5
5	3	2	1	3	2	1

b♭

2	3	1	2	3	1	2
3	2	1	3	2	1	3

   BRIDGES   

D♭	E♭	A♭
c♯	f♯	g♯

4	1	2	4	1	2	4
2	1	4	2	1	4	2

   CLAWS   

B♭

4	1	2	4	1	2	4
3	2	1	3	2	1	3

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