Cassella’s Flower of Music
Book One
The Musical Short Cut
“Let the Music Out of You”
By Tom Cassella
2
Cassella’s Flower of
Music
Book One
Tom Cassella
TJC Global Solutions LLC.
tomfom.com ©
3
Cassella’s Flower of Music Book One by Tom Cassella
© 2014 by Tom Cassella. All rights reserved.
No part of this book may be reproduced in any written, electronic, recording, or
photocopying form without written permission of the author, Tom Cassella.
Books may be purchased in quantity and/or special sales by contacting the author
Tom Cassella by email at [email protected]
Published by: TJC Global Solutions LLC, Denville, New Jersey
Digital Graphics by: Cheryl Greelee, Cthepower Graphics
Editing by: Tom Cassella
TomFom.Com
First Edition
Printed in USA
4
Cassella’s Flower of Music
Book One
Table of Contents
The Flower of Music
Introduction
6
7
Chapter 1: What is the Flower of Music?
Chapter 2: Notes & Navigating the Keyboard
Chapter 3: Playing Piano & Exercises
Chapter 4: What are Intervals?
Chapter 5: Create and Play Triads
Chapter 6: Composing Chord Progressions
Chapter 7: All Chord Harmonies
Chapter 8: Transposing Notes
Chapter 9: Finding Chord Charts
Summary
5
8
11
18
35
37
49
58
60
61
63
6
Introduction
Welcome to Cassella’s Flower of Music Book One! This book is designed to
help you understand music theory in a way that has never before been presented.
This book will explain exactly what notes are, where to find them on the
keyboard, how to coordinate your brain with your hands, and how to create
chordal harmony, composition, and transposition, with the Flower of Music.
With the Flower of Music, the beginner musician is able to compose,
recreate, and transpose music, without taking traditional music theory classes.
The concepts in the latter part of this book would not really be considered
beginner, but with the application of the Flower of Music, it is possible for even
someone just starting out, to master music harmony.
Intermediate to advanced musicians will be able to see the connection of
the Flower of Music, and will be able to use the information in this book to
facilitate and strengthen their musical knowledge.
If you are looking for a solid understanding on how to use music harmony,
and would like to create your own music, this is exactly where you need to be. I
am elated that you are here!
Sincerely happy to be your music teacher,
Tom Cassella
7
Chapter 1: What is the Flower of Music?
 The Flower of Music is a geometric design that illustrates how all notes in
music are connected together harmonically.
 It is called the Flower of Music because it uses the Flower of Life Pattern.
 The Flower of Life is sacred geometry and is found all over the world
engraved into ancient structures. When and where it originates is
unknown.
 The Flower of Life is known as the creation pattern, because in it lays all the
geometric information to construct all known matter in the universe at the
atomic level.
 The Flower of Music contains all the notes in the 15 natural key signatures
and 21 modes of western classical music.
8
 The notes in the Flower of Music are connected to each other via colored
petals.
 Each petal represents the harmonic relationship between the two notes.
 The Root Flower Formula shows the connection from one note to the six
connecting notes.
9
 The formulas you are going to use to extract harmonic information are
color coded, in the colors: yellow, green, and purple.
 This book is designed to take you from the ground up, so don’t worry if you
have no prior knowledge about music and cannot play an instrument yet.
 Chapters two and three will walk you through all the essential skills and
information to start creating music with the Flower of Music.
 My method does not require you to read standard music notation; this is
because you do not have to read music to be able to create music with the
Flower of Music and its formulas.
 This is also based on the fact that we learn to talk before we learn to read,
so I am teaching you how to “speak,” music first.
 I include instruction on how to read standard notation, but you do not need
to study it, if you are not yet interested.
 I am really excited to begin! Let’s get started!
10
Chapter 2: Notes & Navigating the Keyboard
What Are Notes?

Notes are letter names we give to vibrations that we perceive as sound.

Notes are measured by vibrations per second. In music we call this
measurement a Pitch. When you write the number of a pitch it is followed by
"Hz," named after famous physicist Henry Hertz.

For instance the note A above middle C is 440 Hz.

The connection between notes, or musical harmony, is actually how perfect or
imperfect notes mathematically fit together.

You may have heard that all music is math, and that is true, but don't worry if
you are not a math whiz. That will not stop you from creating music.
The Musical Alphabet

The musical alphabet is the first seven letters of the alphabet; A, B,
C, D, E, F and G.

On the keyboard these notes would be the white keys.

The black keys take the name from the white key next to it, but use
an accidental. Accidentals tell you whether the note is above or
below the natural note. Sharp is above and flat is below.
Accidental Symbols
#
b
X
bb
bbb

= sharp
= flat
= double sharp
= double flat
= triple flat
Black keys are enharmonic notes. Enharmonic notes can be called by two
different letter names.
11

Which letter you use to name it, depends on how you are using it. For
example C# and Db are the same pitch.
Pattern of the Black Keys

To remember the location of the notes, notice the pattern of the black keys.
Notice that they go in groups of twos and threes.
12
White Keys

A is in between the second and third black keys in the group of three.

B is right after the third black key.

C is right before the group of two black keys.

D is in between the group of two black keys.

E is right after the group of two black keys.

F is right before the group of three black keys.

G is in between the first and second black keys in the group of three.
Black Keys

C#/ Db is the first black key in the group of two.

D#/Eb is the second black key in the group of two.

F#/ Gb is the first black key in the group of three.

G#/ Ab is the second black key in the group of three.

A#/ Bb is the third black key in the group of three.

Fill in each blank key, and then play each one on the keyboard while saying its
name.

As you can see the notes are in alphabetical order.
13

Since it is in alphabetical order, if you were able to remember the location of
just one note, you would be able to figure out the rest of the keys by counting
forwards or backwards in the alphabet.
Location of Middle C

Knowing the location of Middle C is important because it is used as a
reference when locating positions and other notes on the keyboard.

Middle C is the closest C to the center of the keyboard. Although it is not in
the exact center of the keyboard, it is the closest C to the center.

The red arrow is showing the location of Middle C.
Playing and Saying the Musical Alphabet

Exercise: start at middle C and play each white key going to the right and say
each name as you play.

This will help you remember that A comes after the note G.

Then start at middle C again and go left, this will help you count the alphabet
backwards and will help you remember that G comes before A.
Why Separate Keys Have the Same Letter Name

A question you may be asking, “How can two separate keys on the piano be
called the same letter name?”

This is because they are related to each other by their pitch number.

For instance you know that the note A above middle C is 440 Hz. The
next A below is 220 Hz. The next A below that is 110 Hz.

As you may have guessed, if you go the right of the A above middle C, the next
A is 880 Hz.
14

They are multiples of the same pitch, so they are called the same note name.

I offer this explanation to help you understand why separate keys have the
same name. If you don't quite understand, don't worry, it is not essential in
the process of creating music.
Staff Notation
 This is the staff, it has five lines and four spaces. Music notes sits on either
a line or a space.
 To assign the locations of the notes on the staff you need to put a clef at
the very beginning of the staff.
 The treble clef, or G Clef, assigns the second line from the bottom as the
note G, and the rest of the notes fall into place.
15
 The spaces on the G clef, from bottom to top, spell face. F A C E. The
lines on the G clef from bottom to top are E G B D F. One sentence
used to remember this is Every Good Boy Does Fine.
 The other important clef to know is the bass clef, or F Clef.
 The bass clef assigns the second line from the top as the note F with
the two little dots that encompass it.
 The spaces in the bass clef from bottom to top are A C E G. The
sentence commonly used to remember this is; All Cows Eat Grass.

The lines in the bass clef from bottom to top are G B D F A. The
sentence commonly used to remember this is Good Boys Do Fine
Always.
 The Grand Staff combines these two clefs together to cover all the notes on
the piano.
 The treble is on top and the bass is on the bottom. There is one imaginary
line in between them, which is middle C. Generally on the piano the left
hand plays the bass clef and the right hand plays the treble clef. Notes can
go beyond the staff and they will use ledger lines applying the same rules.
16
 Accidentals in notation are written right before the note.
17
Chapter 3: Playing Piano & Exercises

This method is designed to get your hands and eyes coordinated with your
brain to play all basic chords.

Take your time and be patient!

You should go through these exercises and preparation every day until the
connection becomes solid.

I am not requiring you to read standard notation to play these exercises. You
only need to be able to navigate the keyboard and use the correct fingers.

My reasoning behind this is that most people learn to talk before they can
read. So in other words, I am teaching you how to “speak” music first, and
then you can learn to read later.
Proper Sitting Posture




Your feet should be flat on the ground.
You should sit towards the front of the bench or chair.
Keep your back straight and your shoulders back.
This will let you play for hours without strain. Although it may feel
uncomfortable at first, using the proper posture will help keep you muscles
healthy.
18
Finger Numbers
• Now to review your hands and fingers.
• Both our hands have a thumb, index, middle, ring, and pinky fingers.
• Our hands are mirror images of each other, so the numbers for each finger on
both hands are the same. It is as follows:
• Thumb
=1
• Index
=2
• Middle
=3
• Ring
=4
• Pinky
=5
Hand Posture

Your hands’ resting position is how you want to approach the keyboard.

First, let your arms hang loosely at your sides.

Then relax and shake your hands gently, releasing all tension.
19

Now raise your relaxed hands in front of your face, and see how your fingers
are naturally curved.

This is your hands’ resting position. It is exactly in between a flat hand and a
fist.

Having a relaxed hand is so crucial in correct hand posture, because any
tension in the hand can lead to strains or injuries.

Now take your hands and place them on the keyboard. Your fingers should
naturally land on separate white keys.
20
Right Hand, Left Hand

Some people maybe have trouble remembering right and left hands, so here
is my fool proof way of remembering.

If you put both your hands up, palms out, like this, your left hand is going to
make an "L" with the thumb and index fingers.
Getting Ready to Play
• We are going start playing in the C major position.
• Find middle C with your 1 finger (thumb) of your right hand. The rest of your
fingers should land on the following notes:
• 2 (index) on D
• 3 (middle) on E
• 4 (ring) on F
• 5 (pinky) on G.
• Your fingers should rest naturally and relaxed on top of the keys. It will look like
this:
21
• Play C and then release, not losing contact with the key.
• Take your time to properly play each note with the correct finger. Watch me
play it at tomfom.com password: ebookstudent
• The following exercises show when each hand is being used, and the finger used
to play each note.
• RH = Right Hand
LH = Left Hand
• Play each exercise 10 times. As you play the exercise, say the note or finger
number you are playing out loud.
• I have also included the notation so you can start to get used to seeing it.
22
Exercise 1
Right Hand (RH)
Finger
Note
1
C
2
D
3
E
4
F
5
G
4
F
3
E
2
D
1
C
Exercise 2
• This exercise will start you using your left hand.
• Find the C below middle C.
• With your left hand put your 5 finger (pinky) on the C
• Your fingers should naturally fall as follows:
• 4 (ring) on D
• 3 (middle) on E
• 2 (index) on F
• 1 (thumb) on G
• Remember to play each note and release without losing contact with the key. It
should look like this:
23
Left Hand (LH)
Finger
5
4
3
2
1
2
3
4
5
Note
C
D
E
F
G
F
E
D
C
Exercise 3
• This exercise is switching from the left hand to the right hand, and then back to
the left hand.
• Put both of your hands onto the keyboard and into the positions of exercises 1
and 2.
• This exercise consists of playing the first part of exercise 2, then all of exercise 1,
and then finishes exercise 2. Your hands should look like this:
24
Finger
Note
LH
5
C
4
D
(Continued)
RH
4
3
2
F
E
D
3
E
2
F
1
G
RH
1
C
1
C
LH
1
G
2
F
3
E
2
D
3
E
4
D
5
C
4
F
5
G
Exercise 4

Use the same hand position as exercise 3.

This exercise consists of both exercises 1 and 2 being played at the same time.
It will start to coordinate both hands playing together.

Take your time and play very slowly.
25

It is important that the right hand and left hand fingers play at the same time.

Really think about what you are doing. This will take time and concentration.
Don't worry about speed. That will come with practice.
RH
Finger
1
2
3
4
5
4
3
2
1
Note
C
D
E
F
G
F
E
D
C
Finger
5
4
3
2
1
2
3
4
5
Note
C
D
E
F
G
F
E
D
C
LH
Exercise 5

Keep your hands in C position from exercise 3.

In this exercise, your two hands are also playing together, but the right
hand is doing something new. It is playing the inverse of exercise 1, starting
on G instead of C.

Play the right hand first and get comfortable, before adding the left hand.

This exercise will sound more musical, because the notes are creating
harmony.
26
RH
Finger
5
4
3
2
1
2
3
4
5
Note
G
F
E
D
C
D
E
F
G
Finger
5
4
3
2
1
2
3
4
5
Note
C
D
E
F
G
F
E
D
C
LH
Exercise 6

Keep your hands in C position from the last exercise.

Again your hands are going to play together, but this time your left hand is
doing something new. It is playing the inverse of exercise 2, starting on G
instead of C.

The right hand is playing exercise 1.

Play the left hand by itself, until you are comfortable to add the right hand.
27
RH
Finger
1
2
3
4
5
4
3
2
1
Note
C
D
E
F
G
F
E
D
C
Finger
1
2
3
4
5
4
3
2
1
Note
G
F
E
D
C
D
E
F
G
LH
Exercise 7

Exercises 7-12 are using the same finger movements as exercises 1-6.

The only difference is that we are changing the hand position on the
keyboard to A minor. Your ear will be introduced to the minor mode and
new harmonies.

Find the A below middle C.

Put your 1 finger of your right hand on the A below middle C.

2 finger on B

3 finger on C

4 finger on D

5 finger on E
28
RH
Finger
1
2
3
4
5
4
3
2
1
Note
A
B
C
D
E
D
C
B
A
29
Exercise 8

Find the next A below from the starting A in exercise 7.

Put your 5 finger of your left hand on this A.

4 finger on B

3 finger on C

2 finger on D

1 finger on E
Finger
5
4
3
2
1
2
3
4
5
Note
A
B
C
D
E
D
C
B
A
LH
30
Exercise 9
 This exercise uses the same hand movements from exercise 3.
 Here is how your hands should look.
Finger
Note
LH
5
A
4
B
(Continued)
RH
4
3
2
D
C
B
3
C
2
D
1
E
RH
1
A
1
A
LH
1
E
2
D
3
C
31
2
B
3
C
4
B
5
A
4
D
5
E
Exercise 10
 This exercise uses the same hand movements as exercise 4.
RH
Finger
Note
1
A
2
B
3
C
4
D
5
E
4
D
3
C
2
B
1
A
LH
Finger
Note
5
A
4
B
3
C
2
D
1
E
2
D
3
C
4
B
5
A
32
Exercise 11
 This exercise uses the same hand movements as exercise 5.
RH
Finger
Note
5
E
4
D
3
C
2
B
1
A
2
B
3
C
4
D
5
E
LH
Finger
Note
5
A
4
B
3
C
2
D
1
E
2
D
3
C
4
B
5
A
33
Exercise 12
 This exercise uses the same hand movements as exercise 6.
RH
Finger
Note
1
A
2
B
3
C
4
D
5
E
4
D
3
C
2
B
1
A
LH
Finger
Note
1
E
2
D
3
C
4
B
5
A
4
B
3
C
2
D
1
E
 Congratulations on the millions of new neuro-pathways that you have just
established in your brain! Be sure to practice every day, so they can
become strong and well-rooted.
34
Chapter 4: What are Intervals?
 When you play two notes together, you are creating an interval. This is the
beginning of music harmony. Now you will learn the twelve intervals within
one octave.
 Learning to play, and listening to intervals, is an excellent way to develop
your musical ear, which is called ear training.
 All intervals are measured by half step. One half step on the piano is each
consecutive key. White to black, black to white, or white to white when
there is no black key in between.
 All of these examples will use middle C as your Root note.
 As you read about each interval, play them on your keyboard and listen to
the quality it makes. It will be your goal to be able to identify intervals by
ear, without seeing what notes are being played.
Unison
This is when the two notes being played are exactly the same. If you had
two keyboards and played middle C on both of them, the interval created is
Unison.
Minor 2nd (m2)
The distance is one half step. With C being the Root, one half step up is Db.
Major 2nd (M2)
The distance is two half steps. With C being the Root, two half steps up is D.
Minor 3rd (m3)
The distance is three half steps. With C being the Root, three half steps up is Eb.
Major 3rd (M3)
The distance is four half steps. With C being the Root, four half steps up is E.
Perfect 4th (P4)
The distance is five half steps. With C being the Root, five half steps up is F.
35
Augmented 4th (Aug4)
The distance is six half steps. With C being the Root, six half steps up is F#.
Perfect 5th (P5)
The distance is seven half steps. With C being the Root, seven half steps up is G.
Minor 6th (m6)
The distance is eight half steps. With C being the Root, eight half steps up is Ab.
Major 6th (M6)
This distance is nine half steps. With C being the Root, nine half steps up is A.
Minor 7th (m7)
The distance is ten half steps. With C being the Root, ten half steps up is Bb.
Major 7th (M7)
The distance is eleven half steps. With C being the Root, eleven half steps up is B.
Octave (8)
The distance is twelve half steps. With C being the Root, twelve half steps up is C.
Interval
Steps
Unison
m2
M2
m3
M3
P4
Aug4
P5
m6
M6
m7
M7
8
0
1
2
3
4
5
6
7
8
9
10
11
12
Watch and listen to all of these intervals at tomfom.com
ebookstudent
36
password:
Chapter 5: Create and Play Triads
 The most basic form of a chord is called a triad. A triad is the harmony of
the combination of three notes: Root, 3rd, and 5th.
 There are only four types of triads; Major, Minor, Augmented and
Diminished.
Major Triad
 Major Triad = Root, Major 3rd, Perfect 5th
 e.g. C major triad
 Find the note C in the Flower of Music. Apply this formula with C as the
Root.
 One yellow petal up is the note E. Then from that note, connect up one
green petal, to the note G.
 The notes for your C major triad are: C E G
 This yellow up, green up, is the formula for the major triad in the Flower of
Music.
Play the Major Triad
37

Use your thumb, middle, and pinky fingers.

Right hand: Thumb on the root, Middle on the major 3rd, and Pinky on the
perfect 5th.
 Left hand: Pinky on the root, Middle on the major 3rd, and Thumb on the
perfect 5th.
Right hand
Finger:
1
Note:
R
3
M3
5
P5
Left hand
Finger:
Note:
3
M3
1
P5
5
R
E.g. C major
Right hand
Finger:
1
Note:
C
3
E
5
G
Left hand
Finger:
Note:
3
E
1
G
5
C
 Play the chord with each hand separately and then together.
 Take your time and be gentle.
 Get comfortable finding all major triads in the Flower of Music, and then
playing each one of them.
 Remember to use the correct fingers for each triad.
 Complete the major triad worksheet:
38
Major Triad Worksheet
Root
M3
P5
A
_____
_____
Bb
_____
_____
B
_____
_____
C
_____
_____
C#
_____
_____
Db
_____
_____
D
_____
_____
Eb
_____
_____
E
_____
_____
F
_____
_____
F#
_____
_____
Gb
_____
_____
G
_____
_____
Ab
_____
_____
 When finding and playing these notes on the keyboard, you will notice that
some chords use the same keys with different names. Don’t get confused,
these are enharmonic triads.
39
Minor Triad
 Minor Triad = Root, Minor 3rd, Perfect 5th
 e.g. C minor triad
 Find the note C in the Flower of Music. Apply this formula with C as the
Root.
 One green petal up is the note E♭, and then from that note connect one
yellow petal up, to the note G.
 The notes for your C minor triad are: C E♭ G
 This green up, yellow up, is the formula for the minor triad in the Flower of
Music.
Play the Minor Triad

Use your thumb, middle, and pinky fingers.

Right hand: Thumb on the root, Middle on the minor 3rd, and Pinky on the
perfect 5th.
40
 Left hand: Pinky on the root, Middle on the minor 3rd, and Thumb on the
perfect 5th.
Right hand
Finger:
1
Note:
R
3
m3
5
P5
Left hand
Finger:
Note:
3
m3
1
P5
5
R
E.g. C minor
Right hand
Finger:
1
Note:
C
3
Eb
5
G
Left hand
Finger:
Note:
3
Eb
1
G
5
C
 Play the chord with each hand separately and then together.
 Take your time and be gentle.
 Get comfortable finding all minor triads in the Flower of Music, and then
playing each one of them.
 Remember to use the correct fingers for each triad.
 Complete the minor triad worksheet:
41
Minor Triad Worksheet
Root
m3
P5
A
_____
_____
Bb
_____
_____
B
_____
_____
C
_____
_____
C#
_____
_____
Db
_____
_____
D
_____
_____
Eb
_____
_____
E
_____
_____
F
_____
_____
F#
_____
_____
Gb
_____
_____
G
_____
_____
Ab
_____
_____
 Remember when finding and playing these notes on the keyboard, you will
notice that some are the same keys with different names. Again, these are
enharmonic triads.
42
Diminished Triad
 Diminished Triad = Root, Minor 3rd, Diminished 5th
 e.g. C diminished triad
 Find the note C in the Flower of Music. Apply this formula with C as the
Root.
 One green petal up is the note E♭, and then from that note connect one
more green petal up to the note G♭.
 The notes for your C diminished triad are: C E♭ G♭
 This green up, green up, is the formula for the diminished triad in the
Flower of Music.
Play the Diminished Triad

Use your thumb, middle, and pinky fingers.

Right hand: Thumb on the root, Middle on the minor 3rd, and Pinky on the
diminished 5th.
43
 Left hand: Pinky on the root, Middle on the minor 3rd, and Thumb on the
diminished 5th.
Right hand
Finger:
1
Note:
R
3
m3
5
b5
Left hand
Finger:
Note:
3
m3
1
b5
5
R
E.g. C diminished
Right hand
Finger:
1
Note:
C
3
Eb
5
Gb
Left hand
Finger:
Note:
3
Eb
1
Gb
5
C
 Play the chord with each hand separately and then together.
 Take your time and be gentle.
 Get comfortable finding all diminished triads in the Flower of Music, and
then playing each one of them.
 Remember to use the correct fingers for each triad.
 Complete the diminished triad worksheet:
44
Diminished Triad Worksheet
Root
m3
b5
A
_____
_____
Bb
_____
_____
B
_____
_____
C
_____
_____
C#
_____
_____
Db
_____
_____
D
_____
_____
Eb
_____
_____
E
_____
_____
F
_____
_____
F#
_____
_____
Gb
_____
_____
G
_____
_____
Ab
_____
_____
45
Augmented Triad
 Augmented Triad = Root, Major 3rd, Augmented 5th
 e.g. C augmented triad
 Find the note C in the Flower of Music. Apply this formula with C as the
Root.
 One yellow petal up is the note E, and then from that note another yellow
petal up is the note G♯.
 The notes for your C augmented triad are: C E G♯
 This yellow up, yellow up, is the formula for the augmented triad in the
Flower of Music.
Play the Augmented Triad

Use your thumb, middle, and pinky fingers.

Right hand: Thumb on the root, Middle on the major 3rd, and Pinky on the
augmented 5th.
46
 Left hand: Pinky on the root, Middle on the major 3rd, and Thumb on the
augmented 5th.
Right hand
Finger:
1
Note:
R
3
M3
5
#5
Left hand
Finger:
Note:
3
M3
1
#5
5
R
E.g. C augmented
Right hand
Finger:
1
Note:
C
3
E
5
G#
Left hand
Finger:
Note:
3
E
1
G#
5
C
 Play the chord with each hand separately and then together.
 Take your time and be gentle.
 Get comfortable finding all diminished triads in the Flower of Music, and
then playing each one of them.
 Remember to use the correct fingers for each triad.
 Complete the augmented triad worksheet:
47
Augmented Triad Worksheet
Root
M3
#5
A
_____
_____
Bb
_____
_____
B
_____
_____
C
_____
_____
C#
_____
_____
Db
_____
_____
D
_____
_____
Eb
_____
_____
E
_____
_____
F
_____
_____
F#
_____
_____
Gb
_____
_____
G
_____
_____
Ab
_____
_____
 Now that you have played these combinations of the four types of triads,
you are now going to learn how to put them together and arrange them to
start composing!
48
Chapter 6: Composing Chord Progressions
 Roman numerals represent the functionality of a triad with in a
composition.
 The Major & Minor Key Triad Formulas are used to find all of the triads
that naturally exist in any major or minor key.
Roman Numeral Meaning
Chord
Number
Major
Minor
Diminished
1
2
3
4
5
6
7
I
II
III
IV
V
VI
VII
i
ii
iii
iv
v
vi
vii
iᵒ
iiᵒ
iiiᵒ
ivᵒ
vᵒ
viᵒ
viiᵒ
49
The Major Key Triad Formula
 Roman numeral I is called the “one chord” or the “Root chord”. The
location of the Root chord on the Flower of Music determines the key in
which you are composing. Since it is uppercase it, you will build a major
triad.
 Roman numeral ii is called the “two chord.” The starting note for the two
chord is two purple petals up from the Root chord. Since the Roman
numeral is lowercase, you will build a minor triad.
50
 Roman numeral iii is called the “three chord.” The starting note for the
three chord is found one yellow petal up from the Root chord. Since it is
lowercase, you will build a minor triad.
 Roman numeral IV is called the “four chord.” The starting note for the four
chord is found one purple petal down from the Root chord. Since it
uppercase, you would build a major triad.
 Roman numeral V is called the “five chord.” The starting note for the five
chord is found one purple petal up from the Root chord. Since it is
uppercase, you will build a major triad.
 Roman numeral vi is called the “six chord.” The starting note for the six
chord is one green petal down from the Root chord. Since it is lowercase,
you will build a minor triad.
 Roman numeral viiᵒ is called the “seven chord.” The starting note for the
seven chord is found one purple up, and one yellow petal up, from the Root
chord. Since it is lowercase, and has a degree sign next to it, you will build a
diminished triad.
51
The Minor Key Triad Formula
 Roman numeral i is called the “one chord” or “Root chord.” The location of
the Root chord on the Flower of Music determines the key in which you will
be. Since it is lowercase, you will build a minor triad.
 Roman numeral iiᵒ is called the “two chord.” The starting note for the two
chord is two purple petals up from the Root chord. Since it is lowercase,
and has a degree sign next to it, you will build a diminished triad.
 Roman numeral III is called the “three chord.” The starting note for the
three chord is one green petal up from the Root chord. Since it is
uppercase, you will build a major triad.
52
 Roman numeral iv is called the “four chord.” The starting note for the four
chord is one purple petal down from the Root chord. Since it is lowercase,
you will build a minor triad.
 Roman numeral v is called the “five chord.” The starting note for the five
chord is one purple petal up from the Root chord. Since it is lowercase, you
will build a minor triad.
o This is the only chord that you can build as either a major or minor
triad and it would work. The minor triad is how it would exist
naturally, but lots of composers build it as a major triad to make the
movement from V to i more dramatic.
 Roman numeral VI is called the “six chord.” The starting note for the six
chord is found one yellow petal down from the Root chord. Since it is
uppercase, you will build a major triad.
 Roman numeral VII is called the “seven chord.” The starting note for the
seven chord is found one purple petal up, and one green petal up from the
Root chord. Since it is uppercase, you will build a major triad.
53
Composition Worksheet
 All writing should be done in pencil.
 At the top, write the title of your composition.
 Next, write down your name and the date.
 Choose a major or minor key to compose in. Major has a happier feeling,
while minor is more solemn.
 Each key has its own set of accidentals, sharps ( ♯ ) and flats (♭)
 In your first few compositions you might want to stick to keys with the least
amount of accidentals such as:
C major
G major
F major
D major
A minor
E minor
D minor
B minor
 Next, you need to write in the Roman numerals of either the major or
minor mode in the column, “RN.”
 Then apply the formula to the Flower of Music. Roman numeral one
represents the root note of your key. Now write down the root note of
each triad.
 Next you will spell the triad for each root note; the quality of the Roman
numeral tells you which triad it is.
 After that, write out the chord abbreviations.
o Major triad: the capital letter of the root note. e.g. C Major = C
54
o Minor triad: the capital letter of the root note with a lower case
“m.” e.g. C Minor = Cm
o Diminished triad: the capital letter of the root note with a degree
sign next to it. “ ᵒ ” e.g. C Diminished = Cᵒ
o Augmented triad: the capital letter of the root note with a plus sign
next to it. “ + ” e.g. C Augmented = C+
 Now to create the Verse; the main chord progression. Most songs start on
the one chord, but you can choose to start with any chord you want.
 You can choose a chord progression by random, or use this key below to
help navigate with common movement. These are not rules, just guidelines.
Major
I
ii
iii
IV
V
vi
viiᵒ







can go anywhere
I V viiᵒ
I IV vi
I ii V viiᵒ
I vi
I ii iii IV V
I








can go anywhere
i III
can go anywhere
i III VII iiᵒ
i III VI
i III VI
i III iv VII iiᵒ
i III
Minor
i
iiᵒ
III
iv
v
(V)
VI
VII
55
 Play through your progression, and feel out whether you want to make any
changes. Use your inspiration to guide you.
 Once you are happy with your verse, you can create another chord
progression that can be part of your composition called a “Chorus.”
 If you choose to you can create one more section of your composition
called the “Bridge.” The bridge is usually significantly different from the
rest of the composition, kind of like a breakaway.
 The most common structure of this form is: Verse, Chorus, Verse, Chorus,
Bridge, Chorus, end.
Common Chord Progressions
 To get started, here are some common chord progressions that you can try
out, change, combine, add to, or shorten.
Major




I
I
I
I
IV
vi
IV
vi
ii
IV
ii
IV
V
V
V
V
I
I
I
I
Minor




i
i
i
i
VI
III
VI
III
iv
VI
iv
VI
V
iv
V
iv
i
i
i
i
56
Composition Worksheet
Title of Composition: ____________________________________
Composer and Date: _____________________________________
Key:
Root Note: __________
Mode: ___________
The Natural Triads
RN
Root
3rd
5th
Abbrev.
1
____
_____
_____
_____
_________
2
____
_____
_____
_____
_________
3
____
_____
_____
_____
_________
4
____
_____
_____
_____
_________
5
____
_____
_____
_____
_________
6
____
_____
_____
_____
_________
7
____
_____
_____
_____
_________
Verse:
RN
Abbrev.
_____ _____ _____ _____
_____ _____ _____
Chorus:
RN
Abbrev.
_____ _____ _____ _____
_____ _____ _____
Bridge:
RN
Abbrev.
_____ _____ _____ _____
_____ _____ _____
57
Chapter 7: All Chord Harmonies




All harmonies are based on scales or modes.
You name the harmony by its scale degree from the root.
The numbers represent the scale degree of the harmony.
The Full Flower Formula shows all of the harmonies that exist within the 21
modes. You can find any harmony to any root note by applying this formula
to the Flower of Music.
 This is the Full Flower Formula:
 To find your harmony, find which petals you need to use to get from the
root, “R” to the degree in the Full Flower Formula.
 e.g. To find the #11 in the key of C, you would first see which petals you
use to get from “R” to the #11.
58
 The formula for the #11 is two purple petals up, and one yellow petal up.
 Find C on the Flower of Music, then go up purple, purple, yellow, and you
will land on F#, the #11.
 The scale degrees 2, 4, and 6 are represented by 9, 11, and 13.
2=9
4 = 11
6 = 13
59
Chapter 8: Transposing Notes
 To transpose means to change key, or change the root note.
 To do this, simply find the original key or root note in the Flower of Music
and then find the new desired key or root note.
 What petals do you have to follow to connect these two notes?
 The petals needed to connect the old key to the new key, is the formula
that will connect all the notes of the old key to the new notes of the new
key.
 For example, if my notes or chords were C F and G and I wanted to
transpose it to A, I would first find my path on the Flower of Music from C
to A.
 The path is one green petal down, and I will use that green down formula
to transpose the rest of the notes. One green down from F is D. One green
down from G is E.
 So the same chord progression in the key of A would be A D and E.
 It is that easy.
60
Chapter 9: Finding Chord Charts
 Time to go on the Internet and find some of your favorite songs to learn to
play for free! I have a little system that works great for my students and
me, that I would like to share.
 First, select a song you like. You can open a new tab on YouTube, and have
it playing in the background as you do your search. Then just type the name
of the song into a search engine, and then add the word “chords” after it.
 A lot of these sites will say that they have guitar chords, but they are the
same chords we use for piano, so you can still use them.
 Most of these charts are made by amateur musicians so there are mistakes.
It is a good idea to check out two or three of them to find the best version.
Sometimes you need to combine different parts of each chart to get it right,
and eventually you will get it.
 Also, it might be in a different key than the original because it is easier to
play on the guitar, but you can transpose it back into the original key, which
we will learn how to do next chapter.
 It is always a good idea to print out a copy of the chart to put on a music
stand, and to keep for your own music archive.
 Some sites have a print option near the bottom of the page, which will
open up a new window that is printer friendly that leaves off all the ads on
the page. If not, just copy and paste the chart into a word processor and
then print it from there.
 The way these charts work, is that the chord is generally right above the
word or lyric on which it changes.
 By listening to your favorite songs, and reading the charts along with it, you
will become so much better at writing your own charts and learning to play
new songs.
61
 Just remember that these charts are more or less the bones of the music,
so you have to listen to the song to get the rhythms and changes right. It
may seem difficult at first, but with practice it will get easier.
 Sheet music from a store will most likely have the chords written in above
the notation. The advantage of buying published music is that you know
that there are no mistakes, because it has been edited by a professional
musician.
 I like both methods, but I prefer the Internet versions because they are fast
and free to get. It also trains my ear to correct any mistakes. Happy playing!
62
Summary
So, now the question is, what are you going to do with this information?
Will you compose your own music? Do you have dreams of being a famous
recording or performing artist? Or perhaps, you are learning about music theory
for your own self-improvement. The point is, that you have the power to do so
much with the Flower of Music on your side, because you have everything you
need to get started.
For additional information on music theory and the application of the
Flower of Music, I encourage you to check out my next book, The Flower of Music,
Book Two, that encompasses even more playing, voicing, rhythms, and modes.
You can get more information about this on my website at tomfom.com.
So until next time, have fun learning, playing, and creating.
Sincerely happy to be your music teacher,
Tom Cassella
63