Minor Key Cheat Sheets
♫ Need a refresher? Read more on key signatures here.
Click on a minor key below to get everything you need to know at a glance—including minor scales, key signatures, intervals, diatonic chords, diatonic seventh chords, inversions, and more.
Click on a key below to get started!
A Natural Minor Scale
A B C D E F G A
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
A Harmonic Minor Scale
A B C D E F G# A
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
A Melodic Minor Scale
⬆ A B C D E F# G# A
⬇ A G F E D C B A
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
A Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of A minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Am
A C E
2
diminished
ii°
Bdim
B D F
3
Major
III
C
C E G
4
minor
iv
Dm
D F A
5*
Major*
V
E
E G# B
6
Major
VI
F
F A C
7
Major
VII
G
G B D
A Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Am7
A C E G
2
halfdim 7
iiø7
Bø7
B D F A
3
Major 7
IIImaj7
Cmaj7
C E G B
4
minor 7
iv7
Dm7
D F A C
5
Dominant 7*
V7*
E7*
E G# B D
6
Major 7
VImaj7
Fmaj7
F A C E
7
Dominant 7
VII7
G7
G B D F
A Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of A minor.
Major 2nd
B
Minor 3rd
C
Perfect 4th
D
Perfect 5th
E
Minor 6th
F
Minor 7th
G
Octave
A
Unison
A
A Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
A C E
1st Inversion
C E A
2nd Inversion
E A C
A Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
A C E G
1st Inversion
C E G A
2nd Inversion
E G A C
3rd Inversion
G A C E
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
A Minor Key Signature
0 Flats or Sharps
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
A# Natural Minor Scale
A# B# C# D# E# F# G# A#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
A# Harmonic Minor Scale
A# B# C# D# E# F# GX A#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
A# Melodic Minor Scale
⬆ A# B# C# D# E# FX GX A#
⬇ A# G# F# E# D# C# B# A#
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
A# Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of A# minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
A#m
A# C# E#
2
diminished
ii°
B#dim
B# D# F#
3
Major
III
C#
C# E# G#
4
minor
iv
D#m
D# F# A#
5*
Major*
V
E#
E# GX B#
6
Major
VI
F#
F# A# C#
7
Major
VII
G#
G# B# D#
A# Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
A#m7
A# C# E# G#
2
halfdim 7
iiø7
B#ø7
B# D# F# A#
3
Major 7
IIImaj7
C#M7
C# E# G# B#
4
minor 7
iv7
D#m7
D# F# A# C#
5
Dominant 7*
V7*
E#7*
E# GX B# D#
6
Major 7
VImaj7
F#M7
F# A# C# E#
7
Dominant 7
VII7
G#7
G# B# D# F#
A# Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of A# minor.
Major 2nd
B#
Minor 3rd
C#
Perfect 4th
D#
Perfect 5th
E#
Minor 6th
F#
Minor 7th
G#
Octave
A#
Unison
A#
A# Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
A# C# E#
1st Inversion
C# E# A#
2nd Inversion
E# A# C#
A# Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
A# C# E# G#
1st Inversion
C# E# G# A#
2nd Inversion
E# G# A# C#
3rd Inversion
G# A# C# E#
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
A# Minor Key Signature
7 Sharps: F# C# G# D# A# E# B#
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
Bb Natural Minor Scale
Bb C Db Eb F Gb Ab Bb
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
Bb Harmonic Minor Scale
Bb C Db Eb F Gb A Bb
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
Bb Melodic Minor Scale
⬆ Bb C Db Eb F G A Bb
⬇ Bb Ab Gb F Eb Db C Bb
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
Bb Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of Bb minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Bbm
Bb Db F
2
diminished
ii°
Cdim
C Eb Gb
3
Major
III
Db
Db F Ab
4
minor
iv
Ebm
Eb Gb Bb
5*
Major*
V
F
F A C
6
Major
VI
Gb
Gb Bb Db
7
Major
VII
Ab
Ab C Eb
Bb Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Bbm7
Bb Db F Ab
2
halfdim 7
iiø7
Cø7
C Eb Gb Bb
3
Major 7
IIImaj7
DbM7
Db F Ab C
4
minor 7
iv7
Ebm7
Eb Gb Bb Db
5
Dominant 7*
V7*
F7*
F A C Eb
6
Major 7
VImaj7
GbM7
Gb Bb Db F
7
Dominant 7
VII7
Ab7
Ab C Eb Gb
Bb Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of Bb minor.
Major 2nd
C
Minor 3rd
Db
Perfect 4th
Eb
Perfect 5th
F
Minor 6th
Gb
Minor 7th
Ab
Octave
Bb
Unison
Bb
Bb Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
Bb Db F
1st Inversion
Db F Bb
2nd Inversion
F Bb Db
Bb Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
Bb Db F Ab
1st Inversion
Db F Ab Bb
2nd Inversion
F Ab Bb Db
3rd Inversion
Ab Bb Db F
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
Bb Minor Key Signature
5 Flats: Bb Eb Ab Db Gb
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
B Natural Minor Scale
B C# D E F# G A B
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
B Harmonic Minor Scale
B C# D E F# G A# B
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
B Melodic Minor Scale
⬆ B C# D E F# G# A# B
⬇ B A G F# E D C# B
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
B Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of B minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Bm
B D F#
2
diminished
ii°
C#dim
C# E G
3
Major
III
D
D F# A
4
minor
iv
Em
E G B
5*
Major*
V
F#
F# A# C#
6
Major
VI
G
G B D
7
Major
VII
A
A C# E
B Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Bm7
B D F# A
2
halfdim 7
iiø7
C#ø7
C# E G B
3
Major 7
IIImaj7
Dmaj7
D F# A C#
4
minor 7
iv7
Em7
E G B D
5
Dominant 7*
V7*
F#7*
F# A# C# E
6
Major 7
VImaj7
Gmaj7
G B D F#
7
Dominant 7
VII7
A7
A C# E G
B Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of B minor.
Major 2nd
C#
Minor 3rd
D
Perfect 4th
E
Perfect 5th
F#
Minor 6th
G
Minor 7th
A
Octave
B
Unison
B
B Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
B D F#
1st Inversion
D F# B
2nd Inversion
F# B D
B Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
B D F# A
1st Inversion
D F# A B
2nd Inversion
F# A B D
3rd Inversion
A B D F#
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
B Minor Key Signature
2 Sharps: F# C#
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
C Natural Minor Scale
C D Eb F G Ab Bb C
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
C Harmonic Minor Scale
C D Eb F G Ab B C
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
C Melodic Minor Scale
⬆ C D Eb F G A B C
⬇ C Bb Ab G F Eb D C
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
C Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of C minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Cm
C Eb G
2
diminished
ii°
Ddim
D F Ab
3
Major
III
Eb
Eb G Bb
4
minor
iv
Fm
F Ab C
5*
Major*
V
G
G B D
6
Major
VI
Ab
Ab C Eb
7
Major
VII
Bb
Bb D F
C Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Cm7
C Eb G Bb
2
halfdim 7
iiø7
Dø7
D F Ab C
3
Major 7
IIImaj7
EbM7
Eb G Bb D
4
minor 7
iv7
Fm7
F Ab C Eb
5
Dominant 7*
V7*
G7*
G B D F
6
Major 7
VImaj7
AbM7
Ab C Eb G
7
Dominant 7
VII7
Bb7
Bb D F Ab
C Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of C minor.
Major 2nd
D
Minor 3rd
Eb
Perfect 4th
F
Perfect 5th
G
Minor 6th
Ab
Minor 7th
Bb
Octave
C
Unison
C
C Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
C Eb G
1st Inversion
Eb G C
2nd Inversion
G C Eb
C Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
C Eb G Bb
1st Inversion
Eb G Bb C
2nd Inversion
G Bb C Eb
3rd Inversion
Bb C Eb G
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
C Minor Key Signature
3 Flats: Bb Eb Ab
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
C# Natural Minor Scale
C# D# E F# G# A B C#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
C# Harmonic Minor Scale
C# D# E F# G# A B# C#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
C# Melodic Minor Scale
⬆ C# D# E F# G# A# B# C#
⬇ C# B A G# F# E D# C#
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
C# Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of C# minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
C#m
C# E G#
2
diminished
ii°
D#dim
D# F# A
3
Major
III
E
E G# B
4
minor
iv
F#m
F# A C#
5*
Major*
V
G#
G# B# D#
6
Major
VI
A
A C# E
7
Major
VII
B
B D# F#
C# Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
C#m7
C# E G# B
2
halfdim 7
iiø7
D#ø7
D# F# A C#
3
Major 7
IIImaj7
Emaj7
E G# B D#
4
minor 7
iv7
F#m7
F# A C# E
5
Dominant 7*
V7*
G#7*
G# B# D# F#
6
Major 7
VImaj7
Amaj7
A C# E G#
7
Dominant 7
VII7
B7
B D# F# A
C# Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of C# minor.
Major 2nd
D#
Minor 3rd
E
Perfect 4th
F#
Perfect 5th
G#
Minor 6th
A
Minor 7th
B
Octave
C#
Unison
C#
C# Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
C# E G#
1st Inversion
E G# C#
2nd Inversion
G# C# E
C# Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
C# E G# B
1st Inversion
E G# B C#
2nd Inversion
G# B C# E
3rd Inversion
B C# E G#
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
C# Minor Key Signature
4 Sharps: F# C# G# D#
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
D Natural Minor Scale
D E F G A Bb C D
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
D Harmonic Minor Scale
D E F G A Bb C# D
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
D Melodic Minor Scale
⬆ D E F G A B C# D
⬇ D C Bb A G F E D
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
D Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of D minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Dm
D F A
2
diminished
ii°
Edim
E G Bb
3
Major
III
F
F A C
4
minor
iv
Gm
G Bb D
5*
Major*
V
A
A C# E
6
Major
VI
Bb
Bb D F
7
Major
VII
C
C E G
D Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Dm7
D F A C
2
halfdim 7
iiø7
Eø7
E G Bb D
3
Major 7
IIImaj7
Fmaj7
F A C E
4
minor 7
iv7
Gm7
G Bb D F
5
Dominant 7*
V7*
A7*
A C# E G
6
Major 7
VImaj7
BbM7
Bb D F A
7
Dominant 7
VII7
C7
C E G Bb
D Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of D minor.
Major 2nd
E
Minor 3rd
F
Perfect 4th
G
Perfect 5th
A
Minor 6th
Bb
Minor 7th
C
Octave
D
Unison
D
D Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
D F A
1st Inversion
F A D
2nd Inversion
A D F
D Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
D F A C
1st Inversion
F A C D
2nd Inversion
A C D F
3rd Inversion
C D F A
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
D Minor Key Signature
1 Flat: Bb
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
D# Natural Minor Scale
D# E# F# G# A# B C# D#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
D# Harmonic Minor Scale
D# E# F# G# A# B CX D#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
D# Melodic Minor Scale
⬆ D# E# F# G# A# B# CX D#
⬇ D# C# B A# G# F# E# D#
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
D# Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of D# minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
D#m
D# F# A#
2
diminished
ii°
E#dim
E# G# B
3
Major
III
F#
F# A# C#
4
minor
iv
G#m
G# B D#
5*
Major*
V
A#
A# CX E#
6
Major
VI
B
B D# F#
7
Major
VII
C#
C# E# G#
D# Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
D#m7
D# F# A# C#
2
halfdim 7
iiø7
E#ø7
E# G# B D#
3
Major 7
IIImaj7
F#M7
F# A# C# E#
4
minor 7
iv7
G#m7
G# B D# F#
5
Dominant 7*
V7*
A#7*
A# CX E# G#
6
Major 7
VImaj7
Bmaj7
B D# F# A#
7
Dominant 7
VII7
C#7
C# E# G# B
D# Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of D# minor.
Major 2nd
E#
Minor 3rd
F#
Perfect 4th
G#
Perfect 5th
A#
Minor 6th
B
Minor 7th
C#
Octave
D#
Unison
D#
D# Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
D# F# A#
1st Inversion
F# A# D#
2nd Inversion
A# D# F#
D# Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
D# F# A# C#
1st Inversion
F# A# C# D#
2nd Inversion
A# C# D# F#
3rd Inversion
C# D# F# A#
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
D# Minor Key Signature
6 Sharps: F# C# G# D# A# E#
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
Eb Natural Minor Scale
Eb F Gb Ab Bb Cb Db Eb
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
Eb Harmonic Minor Scale
Eb F Gb Ab Bb Cb D Eb
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
Eb Melodic Minor Scale
⬆ Eb F Gb Ab Bb C D Eb
⬇ Eb Db Cb Bb Ab Gb F Eb
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
Eb Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of Eb minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Ebm
Eb Gb Bb
2
diminished
ii°
Fdim
F Ab Cb
3
Major
III
Gb
Gb Bb Db
4
minor
iv
Abm
Ab Cb Eb
5*
Major*
V
Bb
Bb D F
6
Major
VI
Cb
Cb Eb Gb
7
Major
VII
Db
Db F Ab
Eb Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Ebm7
Eb Gb Bb Db
2
halfdim 7
iiø7
Fø7
F Ab Cb Eb
3
Major 7
IIImaj7
GbM7
Gb Bb Db F
4
minor 7
iv7
Abm7
Ab Cb Eb Gb
5
Dominant 7*
V7*
Bb7*
Bb D F Ab
6
Major 7
VImaj7
CbM7
Cb Eb Gb Bb
7
Dominant 7
VII7
Db7
Db F Ab Cb
Eb Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of Eb minor.
Major 2nd
F
Minor 3rd
Gb
Perfect 4th
Ab
Perfect 5th
Bb
Minor 6th
Cb
Minor 7th
Db
Octave
Eb
Unison
Eb
Eb Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
Eb Gb Bb
1st Inversion
Gb Bb Eb
2nd Inversion
Bb Eb Gb
Eb Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
Eb Gb Bb Db
1st Inversion
Gb Bb Db Eb
2nd Inversion
Bb Db Eb Gb
3rd Inversion
Db Eb Gb Bb
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
Eb Minor Key Signature
6 Flats: Bb Eb Ab Db Gb Cb
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
E Natural Minor Scale
E F# G A B C D E
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
E Harmonic Minor Scale
E F# G A B C D# E
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
E Melodic Minor Scale
⬆ E F# G A B C# D# E
⬇ E D C B A G F# E
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
E Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of E minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Em
E G B
2
diminished
ii°
F#dim
F# A C
3
Major
III
G
G B D
4
minor
iv
Am
A C E
5*
Major*
V
B
B D# F#
6
Major
VI
C
C E G
7
Major
VII
D
D F# A
E Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Em7
E G B D
2
halfdim 7
iiø7
F#ø7
F# A C E
3
Major 7
IIImaj7
Gmaj7
G B D F#
4
minor 7
iv7
Am7
A C E G
5
Dominant 7*
V7*
B7*
B D# F# A
6
Major 7
VImaj7
Cmaj7
C E G B
7
Dominant 7
VII7
D7
D F# A C
E Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of E minor.
Major 2nd
F#
Minor 3rd
G
Perfect 4th
A
Perfect 5th
B
Minor 6th
C
Minor 7th
D
Octave
E
Unison
E
E Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
E G B
1st Inversion
G B E
2nd Inversion
B E G
E Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
E G B D
1st Inversion
G B D E
2nd Inversion
B D E G
3rd Inversion
D E G B
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
E Minor Key Signature
1 Sharp: F#
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
F Natural Minor Scale
F G Ab Bb C Db Eb F
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
F Harmonic Minor Scale
F G Ab Bb C Db E F
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
F Melodic Minor Scale
⬆ F G Ab Bb C D E F
⬇ F Eb Db C Bb Ab G F
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
F Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of F minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Fm
F Ab C
2
diminished
ii°
Gdim
G Bb Db
3
Major
III
Ab
Ab C Eb
4
minor
iv
Bbm
Bb Db F
5*
Major*
V
C
C E G
6
Major
VI
Db
Db F Ab
7
Major
VII
Eb
Eb G Bb
F Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Fm7
F Ab C Eb
2
halfdim 7
iiø7
Gø7
G Bb Db F
3
Major 7
IIImaj7
AbM7
Ab C Eb G
4
minor 7
iv7
Bbm7
Bb Db F Ab
5
Dominant 7*
V7*
C7*
C E G Bb
6
Major 7
VImaj7
DbM7
Db F Ab C
7
Dominant 7
VII7
Eb7
Eb G Bb Db
F Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of F minor.
Major 2nd
G
Minor 3rd
Ab
Perfect 4th
Bb
Perfect 5th
C
Minor 6th
Db
Minor 7th
Eb
Octave
F
Unison
F
F Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
F Ab C
1st Inversion
Ab C F
2nd Inversion
C F Ab
F Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
F Ab C Eb
1st Inversion
Ab C Eb F
2nd Inversion
C Eb F Ab
3rd Inversion
Eb F Ab C
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
F Minor Key Signature
4 Flats: Bb Eb Ab Db
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
F# Natural Minor Scale
F# G# A B C# D E F#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
F# Harmonic Minor Scale
F# G# A B C# D E# F#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
F# Melodic Minor Scale
⬆ F# G# A B C# D# E# F#
⬇ F# E D C# B A G# F#
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
F# Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of F# minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
F#m
F# A C#
2
diminished
ii°
G#dim
G# B D
3
Major
III
A
A C# E
4
minor
iv
Bm
B D F#
5*
Major*
V
C#
C# E# G#
6
Major
VI
D
D F# A
7
Major
VII
E
E G# B
F# Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
F#m7
F# A C# E
2
halfdim 7
iiø7
G#ø7
G# B D F#
3
Major 7
IIImaj7
Amaj7
A C# E G#
4
minor 7
iv7
Bm7
B D F# A
5
Dominant 7*
V7*
C#7*
C# E# G# B
6
Major 7
VImaj7
Dmaj7
D F# A C#
7
Dominant 7
VII7
E7
E G# B D
F# Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of F# minor.
Major 2nd
G#
Minor 3rd
A
Perfect 4th
B
Perfect 5th
C#
Minor 6th
D
Minor 7th
E
Octave
F#
Unison
F#
F# Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
F# A C#
1st Inversion
A C# F#
2nd Inversion
C# F# A
F# Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
F# A C# E
1st Inversion
A C# E F#
2nd Inversion
C# E F# A
3rd Inversion
E F# A C#
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
F# Minor Key Signature
3 Sharps: F# C# G#
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
G Natural Minor Scale
G A Bb C D Eb F G
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
G Harmonic Minor Scale
G A Bb C D Eb F# G
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
G Melodic Minor Scale
⬆ G A Bb C D E F# G
⬇ G F Eb D C Bb A G
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
G Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of G minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
Gm
G Bb D
2
diminished
ii°
Adim
A C Eb
3
Major
III
Bb
Bb D F
4
minor
iv
Cm
C Eb G
5*
Major*
V
D
D F# A
6
Major
VI
Eb
Eb G Bb
7
Major
VII
F
F A C
G Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
Gm7
G Bb D F
2
halfdim 7
iiø7
Aø7
A C Eb G
3
Major 7
IIImaj7
BbM7
Bb D F A
4
minor 7
iv7
Cm7
C Eb G Bb
5
Dominant 7*
V7*
D7*
D F# A C
6
Major 7
VImaj7
EbM7
Eb G Bb D
7
Dominant 7
VII7
F7
F A C Eb
G Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of G minor.
Major 2nd
A
Minor 3rd
Bb
Perfect 4th
C
Perfect 5th
D
Minor 6th
Eb
Minor 7th
F
Octave
G
Unison
G
G Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
G Bb D
1st Inversion
Bb D G
2nd Inversion
D G Bb
G Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
G Bb D F
1st Inversion
Bb D F G
2nd Inversion
D F G Bb
3rd Inversion
F G Bb D
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
G Minor Key Signature
2 Flats: Bb Eb
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
G# Natural Minor Scale
G# A# B C# D# E F# G#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8
-
To understand the natural minor scale, it's helpful to first identify its relative major scale.
To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.
The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:
T - S - T - T - S - T - T
Applying this formula starting on any note will yield its corresponding natural minor scale.
G# Harmonic Minor Scale
G# A# B C# D# E FX G#
Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8
-
The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.
The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.
G# Melodic Minor Scale
⬆ G# A# B C# D# E# FX G#
⬇ G# F# E D# C# B A# G#
Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1
-
The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.
When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.
When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.
The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:
The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).
The raised seventh degree allows for a stronger leading tone towards the tonic.
The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.
⬆
⬇
G# Minor Diatonic Chords
“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of G# minor.
Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -
Chord #
Chord Type
Rom. #
Chord
Notes
Chord #
Chord Type
Rom. #
Chord
Notes
1
minor
i
G#m
G# B D#
2
diminished
ii°
A#dim
A# C# E
3
Major
III
B
B D# F#
4
minor
iv
C#m
C# E G#
5*
Major*
V
D#
D# FX A#
6
Major
VI
E
E G# B
7
Major
VII
F#
F# A# C#
G# Minor Diatonic 7th Chords
These are the same as above, but in the form of 7th chords.
Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7
1
minor 7
i7
G#m7
G# B D# F#
2
halfdim 7
iiø7
A#ø7
A# C# E G#
3
Major 7
IIImaj7
Bmaj7
B D# F# A#
4
minor 7
iv7
C#m7
C# E G# B
5
Dominant 7*
V7*
D#7*
D# FX A# C#
6
Major 7
VImaj7
Emaj7
E G# B D#
7
Dominant 7
VII7
F#7
F# A# C# E
G# Minor Intervals
“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of G# minor.
Major 2nd
A#
Minor 3rd
B
Perfect 4th
C#
Perfect 5th
D#
Minor 6th
E
Minor 7th
F#
Octave
G#
Unison
G#
G# Minor Chord Inversions
“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.
Root
G# B D#
1st Inversion
B D# G#
2nd Inversion
D# G# B
G# Minor 7th Chord Inversions
“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.
Root
G# B D# F#
1st Inversion
B D# F# G#
2nd Inversion
D# F# G# B
3rd Inversion
F# G# B D#
-
The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.
The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.
The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.
The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.
-
Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.
-
When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:
Left Hand - 1, 5, (optional 8)
Right Hand - 3, 5, 7, (optional 2 for flavor)
Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.
-
Here's how you can use the circle of fifths to determine minor key signatures:
Look at the inner circle:
The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.Start at the top of the inner circle:
The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.Moving clockwise:
Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.Moving counter-clockwise:
If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.
Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.
-
Use the following mnemonic to help you remember:
Order of Sharps - Father Charles Goes Down And Ends Battle
Order of Flats - Battle Ends And Down Goes Charles’ Father
Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.
G# Minor Key Signature
5 Sharps: F# C# G# D# A#
Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F
-
In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:
Uppercase Roman numerals represent major chords.
Lowercase Roman numerals represent minor chords.
A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.
-
To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).
-
The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.
In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.
-
Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:
Major 2nd: Happy Birthday
Minor 3rd: Greensleeves (first two notes)
Perfect 4th: Amazing Grace
Perfect 5th: Twinkle Twinle Little Star
Minor 6th: The Entertainer (first two notes)
Minor 7th: Somewhere from West Side Story
Perfect 8th: Somewhere Over the Rainbow
-
In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.
By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.
-
Half Diminished 7th Chord (ø7):
Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.
Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".
Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.
Diminished 7th Chord (°7):
Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.
Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.
Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.
Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.
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