Baroque-lute-scales: A supplement to the 

Lernui-methodology 

By Dr Robin Rolfhamre

University of Agder, Faculty of Fine Arts, Institute of Classical Music and Music Education, Department of Classical Music.

Introduction

In an earlier number of ​Lutezine — i.e. no. 113 — I presented a Baroque-lute-methodology that I call
Lernui​. Based on the related, guitar-based CAGED-system, this approach reduces basic chord-playing
on the Baroque-lute down to three basic right-hand-formations which I call models (see fig. 1 below).
These three can additionally be altered into their respective minor-version by lowering the thirds half
a tone (see fig. 2 below). Together they cover most of the chords in standard harmonic play and thus
presents an efficient methodology for playing chords all over the fretboard, which in turn makes
improvisation more accessible. The name Lernui functions as a mnemonic device for the models as
seen on the fretboard from the performer’s perspective; ‘Ler-’ refers to the major-versions of the three
models and ‘-nui’ refers to the minor-versions (see fig. 3 below).
In the process of improvising e.g. fantasias, preludes, ​doubles​, continuo-parts, however,
chord-progressions are most often not enough by themselves to produce interesting musical
performances; we also need to include melodic movements and various sorts of linear play. In this
supplement to the earlier presented Lernui-approach I present several scales utilising fretboard-charts
that the musician can place on the music-stand to support melodic play. Combined with the
three-model-approach these scales should aid the aspiring improviser to gain a better sense of comfort
and control when fantasising through lute-performances.
In all scale-charts below (i.e. fig. 4 through 55) stars represent the ground-notes, squares
represent the fifths and circles represent all others intervals. The order of the scales presented is: 1)
Major, 2) minor, 3) harmonic-minor, 4) melodic-minor, 5) dorian, 6) phrygian, 7) lydian, and
ultimately 8) mixolydian. In order not to confuse the reader too much by giving all different
naming-conventions for each modal-scale, I have chosen to employ today’s standard nomenclature
throughout.

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Figure 1. The three major-models. Previously published in Lutezine no. 113; used with permission.

Figure 2. The three corresponding minor-versions. Previously published in Lutezine no. 113; used
with permission.

Figure 3. The Lernui-abbreviation explained. Previously published in Lutezine no. 113; used with
permission.

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Major-modes

Figure 4. C-major. Basses: gG, fF, eE, dD, cC.

Figure 5. G-major. Basses: gG, f​#​F​#​, eE, dD, cC.

Figure 6. D-major. Basses: gG, f​#​F​#​, eE, dD, c​#​C​#​.

Figure 7. A-major. Basses: g​#​G​#​, f​#​F​#​, eE, dD, c​#​C​#​.

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Figure 8. F-major. Basses: gG, fF, eE, dD, cC.

Figure 9. B​b​-major. Basses: gG, fF, e​b​E​b​, dD, cC.

Figure 10. E​b​-major. Basses: gG, fF, e​b​E​b​, dD, cC.

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Minor-modes

Figure 11. A-minor. Basses: gG, fF, eE, dD, cC.

Figure 12. E-minor. Basses: gG, f​#​F​#​, eE, dD, cC.

Figure 13. B-minor. Basses: gG, f​#​F​#​, eE, dD, c​#​C​#​.

Figure 14. F​#​-minor. Basses: g​#​G​#​, f​#​F​#​, eE, dD, c​#​C​#​.

Figure 15. D-minor. Basses: gG, fF, eE, dD, cC.

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Figure 16. G-minor. Basses: gG, fF, e​b​E​b​, dD, cC.

Figure 17. C-minor. Basses: gG, fF, e​b​E​b​, dD, cC.

Harmonic-minor-modes

Figure 18. A-harmonic-minor.

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Figure 19. E-harmonic-minor.

Figure 20. B-harmonic-minor.

Figure 21. F​#​-harmonic-minor.

Figure 22. D-harmonic-minor.

Figure 23. G-harmonic-minor.

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Figure 24. C-harmonic-minor.

Melodic-minor-modes

Figure 25. A-melodic-minor (upwards movement). See figure 10 for A-minor downwards motion.

Figure 26. E-melodic-minor (upwards movement). See figure 11 for E-minor downwards motion.

Figure 27. B-melodic-minor (upwards movement). See figure 12 for B-minor downwards motion.

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Figure 28. F​#​-melodic-minor (upwards movement). See figure 12 for F​#​-minor downwards motion.

Figure 29. D-melodic-minor (upwards movement). See figure 13 for D-minor downwards motion.

Figure 30. G-melodic-minor (upwards movement). See figure 14 for G-minor downwards motion

Figure 31. C-melodic-minor (upwards movement). See figure 15 for C-minor downwards motion.

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Dorian
Figure 32. C-Dorian.

Figure 33. D-Dorian.

Figure 34. E-Dorian.

Figure 35. F-Dorian.

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Figure 36. G-Dorian.

Figure 37. A-Dorian.

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Phrygian

Figure 38. C-Phrygian.

Figure 39. D-Phrygian.

Figure 40. E-Phrygian.

Figure 41. F-Phrygian.

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Figure 42. G-Phrygian.

Figure 43. A-Phrygian.

Lydian

Figure 44. C-Lydian.

Figure 45. D-Lydian.

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Figure 46. E-Lydian.

Figure 47. F-Lydian.

Figure 48. G-Lydian.

Figure 49. A-Lydian.

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Mixolydian

Figure 50. C-Mixolydian.

Figure 51. D-Mixolydian.

Figure 52. E-Mixolydian.

Figure 53. F-Mixolydian.

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Figure 54. G-Mixolydian.

Figure 55. A-Mixolydian.

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