Major Key Cheat Sheets

♫ Need a refresher? Read more on key signatures here.

Go to Minor Key Cheat Sheets

Click on a major key below to get everything you need to know at a glance—including major scales, key signatures, intervals, diatonic chords, diatonic seventh chords, inversions, and more.
Click on a major key below to get started!

C Major Scale

C D E F G A B C

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the C major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note C:

    C - D - E - F - G - A - B - C
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

C Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of C major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

C

C E G

minor

2m

ii

Dm

D F A

minor

3m

iii

Em

E G B

Major

4

IV

F

F A C

Major

5

V

G

G B D

minor

6m

vi

Am

A C E

diminished

7°

vii°

Bdim

B D F

C Major 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

Major 7

1

Imaj7

CMaj7

C E G B

minor 7

2m7

ii7

Dm7

D F A C

minor 7

3m7

iii7

Em7

E G B D

Major 7

4

IVmaj7

Fmaj7

F A C E

Dominant 7*

5

V7

G7

G B D F

minor 7

6m

vi7

Am7

A C E G

half dim 7*

7ø

viiø7

Bø7

B D F A

C Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of C Major.

Major 2nd

C → D

Major 3rd

C → E

Perfect 4th

C → F

Perfect 5th

C → G

Major 6th

C → A

Major 7th

C → B

Octave

C → C

Unison

C → C

C Major 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 Major 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

  • 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.

  • 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 brighter 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 major tonality.

  • When playing a C major scale with your right hand on the piano, you can use the following finger pattern:

    C - D - E - F - G - A - B - C
    1 2 3 1 2 3 4 5

    When playing a C major scale with your left hand on the piano, you can use the following finger pattern:

    C - D - E - F - G - A - B - C
    5 4 3 2 1 3 2 1

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

C Key Signature:

0 Sharps or Flats

Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

  • Learning the intervals in a major scale is important because it helps you:

    1. Enhance familiarity with specific key signatures.

    2. Build chords by understanding the intervallic relationships.

    3. Transpose music to different keys accurately.

    4. Improvise melodies more fluently by navigating intervals.

    5. Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
    M7 m7 m7 M7 7 m7 ø7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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 Major Scale

Bb C D Eb F G A Bb

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the Bb major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note Bb:

    Bb - C - D - Eb - F - G - A - Bb
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

Bb Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of Bb major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

Bb

Bb D F

minor

2m

ii

Cm

C Eb G

minor

3m

iii

Dm

D F A

Major

4

IV

Eb

Eb G Bb

Major

5

V

F

F A C

minor

6m

vi

Gm

G Bb D

diminished

7°

vii°

Adim

A C Eb

Bb Major 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

Major 7

1

Imaj7

BbM7

Bb D F A

minor 7

2m7

ii7

Cm7

C Eb G Bb

minor 7

3m7

iii7

Dm7

D F A C

Major 7

4

IVmaj7

EbM7

Eb G Bb D

Dominant 7*

5

V7

F7

F A C Eb

minor 7

6m

vi7

Gm7

G Bb D F

half dim 7*

7ø

viiø7

Aø7

A C Eb G

Bb Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of Bb Major.

Major 2nd

C

Major 3rd

D

Perfect 4th

Eb

Perfect 5th

F

Major 6th

G

Major 7th

A

Octave

Bb

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

Unison

Bb

Bb Major 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 D F

1st Inversion

D F Bb

2nd Inversion

F Bb D

Bb Major 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 D F A

1st Inversion

D F A Bb

2nd Inversion

F A Bb D

3rd Inversion

A Bb D F

  • 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.

  • 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 brighter 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 major tonality.

  • When playing a Bb major scale with your right hand on the piano, you can use the following finger pattern:

    Bb - C - D - Eb - F - G - A - Bb
    2 1 2 3 1 2 3 4

    When playing a Bb major scale with your left hand on the piano, you can use the following finger pattern:

    Bb - C - D - Eb - F - G - A - Bb
    3 2 1 4 3 2 1 2

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

Bb 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

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
     M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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 Major Scale

B C# D# E F# G# A# B

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the B major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note B:

    B - C# - D# - E - F# - G# - A# - B
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

B Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of B major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

B

B D# F#

minor

2m

ii

C#m

C# E G#

minor

3m

iii

D#m

D# F# A#

Major

4

IV

E

E G# B

Major

5

V

F#

F# A# C#

minor

6m

vi

G#m

G# B D#

diminished

7°

vii°

A#dim

A# C# E

B Major 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

Major 7

1

Imaj7

Bmaj7

B D# F# A#

minor 7

2m7

ii7

C#m7

C# E G# B

minor 7

3m7

iii7

D#m7

D# F# A# C#

Major 7

4

IVmaj7

Emaj7

E G# B D#

Dominant 7*

5

V7

F#7

F# A# C# E

minor 7

6m

vi7

G#m7

G# B D# F#

half dim 7*

7ø

viiø7

A#ø7

A# C# E G#

B Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of B Major.

Major 2nd

C#

Major 3rd

D#

Perfect 4th

E

Perfect 5th

F#

Major 6th

G#

Major 7th

A#

Octave

B

Unison

B

B Major 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 Major 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#

  • 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.

  • 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 or establishing a new key center.

    The second inversion chord has a brighter 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 major tonality.

  • When playing a B major scale with your right hand on the piano, you can use the following finger pattern:

    B - C# - D# - E - F# - G# - A# - B
    1 2 3 1 2 3 4 5

    When playing a B major scale with your left hand on the piano, you can use the following finger pattern:

    B - C# - D# - E - F# - G# - A# - B
    4 3 2 1 4 3 2 1

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

B 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

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
     M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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.

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

C# Major Scale

C# D# E# F# G# A# B# C#

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the C# major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note C#:

    C# - D# - E# - F# - G# - A# - B# - C#
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

C# Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of C# major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

C#

C# E# G#

minor

2m

ii

D#m

D# F# A#

minor

3m

iii

E#m

E# G# B#

Major

4

IV

F#

F# A# C#

Major

5

V

G#

G# B# D#

minor

6m

vi

A#m

A# C# E#

diminished

7°

vii°

B#dim

B# D# F#

C# Major 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

Major 7

1

Imaj7

C#M7

C# E# G# B#

minor 7

2m7

ii7

D#m7

D# F# A# C#

minor 7

3m7

iii7

E#m7

E# G# B# D#

Major 7

4

IVmaj7

F#M7

F# A# C# E#

Dominant 7*

5

V7

G#7

G# B# D# F#

minor 7

6m

vi7

A#m7

A# C# E# G#

half dim 7*

7ø

viiø7

B#ø7

B# D# F# A#

C# Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of C# Major.

Major 2nd

D#

Major 3rd

E#

Perfect 4th

F#

Perfect 5th

G#

Major 6th

A#

Major 7th

B#

Octave

C#

Unison

C#

C# Major 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# Major 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#

  • 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.

  • 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 brighter 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 major tonality.

  • When playing a C# major scale with your right hand on the piano, you can use the following finger pattern:

    C# - D# - E# - F# - G# - A# - B# - C#
    2 3 1 2 3 4 1 2/3

    When playing a C# major scale with your left hand on the piano, you can use the following finger pattern:

    C# - D# - E# - F# - G# - A# - B# - C#
    3 2 1 4 3 2 1 3

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

C# 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

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
    M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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.

Db Major Scale

Db Eb F Gb Ab Bb C Db

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the Db major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note Db:

    Db - Eb - F - Gb - Ab - Bb - C - Db
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    Note: By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

Db Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of Db major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

Db

Db F Ab

minor

2m

ii

Ebm

Eb G Bb

minor

3m

iii

Fm

F Ab C

Major

4

IV

Gb

Gb Bb Db

Major

5

V

Ab

Ab C Eb

minor

6m

vi

Bbm

Bb Db F

diminished

7°

vii°

Cdim

C Eb Gb

Db Major 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

Major 7

1

Imaj7

DbM7

Db F Ab C

minor 7

2m7

ii7

Ebm7

Eb G Bb Db

minor 7

3m7

iii7

Fm7

F Ab C Eb

Major 7

4

IVmaj7

GbM7

Gb Bb Db F

Dominant 7*

5

V7

Ab7

Ab C Eb Gb

minor 7

6m

vi7

Bbm7

Bb Db F Ab

half dim 7*

7ø

viiø7

Cø7

C Eb Gb Bb

Db Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of Db Major.

Major 2nd

Eb

Major 3rd

F

Perfect 4th

Gb

Perfect 5th

Ab

Major 6th

Bb

Major 7th

C

Octave

Db

Unison

Db

Db Major 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

Db F Ab

1st Inversion

F Ab Db

2nd Inversion

Ab Db F

Db Major 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

Db F Ab C

1st Inversion

F Ab C Db

2nd Inversion

Ab C Db F

3rd Inversion

C Db F Ab

  • 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.

  • 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 brighter 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 major tonality.

  • When playing a Db major scale with your right hand on the piano, you can use the following finger pattern:

    Db - Eb - F - Gb - Ab - Bb - C - Db
    2 3 1 2 3 4 1 2/3

    When playing a Db major scale with your left hand on the piano, you can use the following finger pattern:

    Db - Eb - F - Gb - Ab - Bb - C - Db
    3 2 1 4 3 2 1 3

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

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

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
    M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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 Major Scale

D E F# G A B C# D

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the D major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note D:

    D - E - F# - G - A - B - C# - D
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    Note: By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

D Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of D major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

D

D F# A

minor

2m

ii

Em

E G B

minor

3m

iii

F#m

F# A C#

Major

4

IV

G

G B D

Major

5

V

A

A C# E

minor

6m

vi

Bm

B D F#

diminished

7°

vii°

C#dim

C# E G

D Major 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

Major 7

1

Imaj7

Dmaj7

D F# A C#

minor 7

2m7

ii7

Em7

E G B D

minor 7

3m7

iii7

F#m7

F# A C# E

Major 7

4

IVmaj7

Gmaj7

G B D F#

Dominant 7*

5

V7

A7

A C# E G

minor 7

6m

vi7

Bm7

B D F# A

half dim 7*

7ø

viiø7

C#ø7

C# E G B

D Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of D Major.

Major 2nd

E

Major 3rd

F#

Perfect 4th

G

Perfect 5th

A

Major 6th

B

Major 7th

C#

Octave

D

Unison

D

D Major 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 Major 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

  • 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.

  • 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 brighter 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 major tonality.

  • When playing a D major scale with your right hand on the piano, you can use the following finger pattern:

    D - E - F# - G - A - B - C# - D
    1 2 3 1 2 3 4 5

    When playing a D major scale with your left hand on the piano, you can use the following finger pattern:

    D - E - F# - G - A - B - C# - D
    5 4 3 2 1 3 2 1

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

D 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

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
    M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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.

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

Eb Major Scale

Eb F G Ab Bb C D Eb

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the Eb major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note Eb:

    Eb - F - G - Ab - Bb - C - D - Eb
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    Note: By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

Eb Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of Eb major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

Eb

Eb G Bb

minor

2m

ii

Fm

F Ab C

minor

3m

iii

Gm

G Bb D

Major

4

IV

Ab

Ab C Eb

Major

5

V

Bb

Bb D F

minor

6m

vi

Cm

C Eb G

diminished

7°

vii°

Ddim

D F Ab

Eb Major 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

Major 7

1

Imaj7

EbM7

Eb G Bb D

minor 7

2m7

ii7

Fm7

F Ab C Eb

minor 7

3m7

iii7

Gm7

G Bb D F

Major 7

4

IVmaj7

AbM7

Ab C Eb G

Dominant 7*

5

V7

Bb7

Bb D F Ab

minor 7

6m

vi7

Cm7

C Eb G Bb

half dim 7*

7ø

viiø7

Dø7

D F Ab C

Eb Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of Eb Major.

Major 2nd

F

Major 3rd

G

Perfect 4th

Ab

Perfect 5th

Bb

Major 6th

C

Major 7th

D

Octave

Eb

Unison

Eb

Eb Major 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 G Bb

1st Inversion

G Bb Eb

2nd Inversion

Bb Eb G

Eb Major 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 G Bb D

1st Inversion

G Bb D Eb

2nd Inversion

Bb D Eb G

3rd Inversion

D Eb G Bb

  • 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.

  • 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 brighter 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 major tonality.

  • When playing an Eb major scale with your right hand on the piano, you can use the following finger pattern:

    Eb - F - G - Ab - Bb - C - D - Eb
    3 1 2 3 4 1 2 3

    When playing an Eb major scale with your left hand on the piano, you can use the following finger pattern:

    Eb - F - G - Ab - Bb - C - D - Eb
    3 2 1 4 3 2 1 2/3

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

Eb 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

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
    M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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 Major Scale

E F# G# A B C# D# E

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the E major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note E:

    E - F# - G# - A - B - C# - D# - E
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    Note: By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

E Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of E major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

E

E G# B

minor

2m

ii

F#m

F# A C#

minor

3m

iii

G#m

G# B D#

Major

4

IV

A

A C# E

Major

5

V

B

B D# F#

minor

6m

vi

C#m

C# E G#

diminished

7°

vii°

D#dim

D# F# A

E Major 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

Major 7

1

Imaj7

Emaj7

E G# B D#

minor 7

2m7

ii7

F#m7

F# A C# E

minor 7

3m7

iii7

G#m7

G# B D# F#

Major 7

4

IVmaj7

Amaj7

A C# E G#

Dominant 7*

5

V7

B7

B D# F# A

minor 7

6m

vi7

C#m7

C# E G# B

half dim 7*

7ø

viiø7

D#ø7

D# F# A C#

E Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of E Major.

Major 2nd

F#

Major 3rd

G#

Perfect 4th

A

Perfect 5th

B

Major 6th

C#

Major 7th

D#

Octave

E

Unison

E

E Major 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 Major 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

  • 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.

  • 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 brighter 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 major tonality.

  • When playing an E major scale with your right hand on the piano, you can use the following finger pattern:

    E - F# - G# - A - B - C# - D# - E
    1 2 3 1 2 3 4 5

    When playing an E major scale with your left hand on the piano, you can use the following finger pattern:

    E - F# - G# - A - B - C# - D# - E
    5 4 3 2 1 3 2 1

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

E 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

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
    M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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 Major Scale

F G A Bb C D E F

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the F major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note F:

    F - G - A - Bb - C - D - E - F
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

F Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of F major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Types

Nash. #

Rom. #

Chord

Notes

Chord Types

Nash. #

Rom. #

Chord

Notes

Major

1

I

F

F A C

minor

2m

ii

Gm

G Bb D

minor

3m

iii

Am

A C E

Major

4

IV

Bb

Bb D F

Major

5

V

C

C E G

minor

6m

vi

Dm

D F A

diminished

7°

vii°

Edim

E G Bb

F Major 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

Major 7

1

Imaj7

Fmaj7

F A C E

minor 7

2m7

ii7

Gm7

G Bb D F

minor 7

3m7

iii7

Am7

A C E G

Major 7

4

IVmaj7

Bbmaj7

Bb D F A

Dominant 7*

5

V7

C7

C E G Bb

minor 7

6m

vi7

Dm7

D F A C

half dim 7*

7ø

viiø7

Eø7

E G Bb D

F Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of F Major.

Major 2nd

G

Major 3rd

A

Perfect 4th

Bb

Perfect 5th

C

Major 6th

D

Major 7th

E

Octave

F

Unison

F

F Major 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 Major 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

  • 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.

  • 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 brighter 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 major tonality.

  • When playing an F major scale with your right hand on the piano, you can use the following finger pattern:

    F - G - A - Bb - C - D - E - F
    1 2 3 4 1 2 3 4

    When playing an F major scale with your left hand on the piano, you can use the following finger pattern:

    F - G - A - Bb - C - D - E - F
    5 4 3 2 1 3 2 1

  • 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.

  • 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.

  • The circle of fifths can help you determine key signatures by providing a visual representation of the relationships between different keys. Here's how you can use the circle of fifths to determine key signatures:

    1. Start at the top: The top of the circle represents the key of C major or A minor, which has no sharps or flats in its key signature.

    2. Moving clockwise: Moving clockwise around the circle, each 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 C major is G major, which has one sharp (F#). The next key, D major, 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.

    3. Moving counter-clockwise: If you move counterclockwise from C major, each key is a fourth lower than the previous one. As you move around the circle, each movement adds one flat to the key signature. For example, the first key after C major is F major, which has 1 flat (Bb). Followed by Bb major (Bb, Eb), and then Eb major (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: Major keys and their relative minor 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.

F 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

  • To remember which diatonic chords are major and minor within a key, you can use the following pattern:

    Major - minor - minor - Major - Major - minor - diminished
    M m m M M m d
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures. In other words, the 1 chord is always major, the 2 chord is always minor, the 3 chord is always minor, and so on.

  • The Nashville Number System is a method of music notation that uses numbers to represent the chords and their relationships within a key. It is commonly used in the music industry–particularly in Nashville, Tennessee, hence its name–and is very common within worship teams. The reason why it is used is because it is the most flexible and efficient way to communicate chord progressions and harmonic structures in various keys without relying on specific chord names.

    In the Nashville Number System, the numbers correspond to chords built on specific scale degrees of the major scale. Here’s how the system works for diatonic chords:

    Chords 1, 4, 5 are always major chords.

    Chords 2, 3, 6 are always minor chords.

    The 7 chord is always diminished.

  • 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 (I, IV, V) represent major chords.

    Lowercase Roman numerals (ii, iii, vi) represent minor chords.

    A lowercase Roman numeral with a degree symbol (vii°) represents a diminished chord.

  • Learning the intervals in a major scale is important because it helps you:

    • Enhance familiarity with specific key signatures.

    • Build chords by understanding the intervallic relationships.

    • Transpose music to different keys accurately.

    • Improvise melodies more fluently by navigating intervals.

    • Understand music theory concepts like scales, modes, and chord progressions.

  • 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.

    On the other hand, the major intervals comprise the major 2nd (M2), major 3rd (M3), major 6th (M6), and major 7th (M7). They are not referred to as “perfect” because they are the only intervals that can be lowered to create "minor" intervals. For instance, a major third can be lowered to become a minor 3rd. In contrast, if you were to lower perfect intervals, they would become major intervals. For example, if you lower a perfect 4th, it becomes a major third. The exception to this rule is the perfect 5th, which becomes a diminished 5th when lowered, not a minor 5th.

  • Practice singing or playing the intervals of a major 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 major second). 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

    Major 3rd: When the Saints Go Marching In

    Perfect 4th: Amazing Grace

    Perfect 5th: Star Wars (Main Theme)

    Major 6th: My Bonnie Lies Over the Ocean

    Major 7th: Take On Me

    Perfect 8th: Somewhere Over the Rainbow

  • To remember which diatonic 7th chords are major and minor within a key, you can use the following pattern:

    Major 7 - minor 7 - minor 7 - Major 7 - Dominant 7 - minor 7 - half diminished
    M7 m7 m7 M7 7 m7 ø7
    1 2 3 4 5 6 7

    Note: This pattern is consistent in all key signatures, no matter which key you choose to play in.

  • The term "dominant" signifies that the chord is built on the fifth degree of the major scale, while the "7" indicates a lowered seventh interval from the root note of the chord, not the 7th interval of the home key.

    The dominant 7 chord has a specific interval structure, consisting of a major third, perfect fifth, and lowered seventh (minor seventh). This combination creates a distinct sound, generating a strong sense of tension that seeks resolution to the 1 chord.

    The reason for lowering the 7th of the chord is to ensure all notes adhere to the key signature of the home key. In the key of C major, for instance, the dominant chord is the fifth note (G), which forms a G major chord (G-B-D). Adding a seventh transforms it into a dominant 7th chord (G-B-D-F). The lowered seventh occurs because the key signature of the G chord includes an F#, whereas the home key's key signature requires it to be lowered to an F natural (a regular F) due to C having no sharps or flats.

  • 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# Major Scale

F# G# A# B C# D# E# F#

Scale Pattern: T - T - S - T - T - T - S

  • All major scales consist of eight notes that follow a specific pattern of tones (T) and semitones (S). A tone (also known as a whole step) corresponds to a two-fret distance on a guitar or a two-key distance on a piano, while a semitone (also known as a half step) corresponds to a one-fret distance on a guitar or a one-key distance on a piano. The formula is as follows:

    T - T - S - T - T - T - S

    Using the F# major scale as an example, we apply the tone (T) or semitone (S) pattern starting from the note F#:

    F# - G# - A# - B - C# - D# - E# - F#
    ^ ^ ^ ^ ^ ^ ^
    T T S T T T S

    By following this pattern, you can construct major scales in any key using tones (T) and semitones (S).

F# Major Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of F# major, without any chromatic alteration.

Common major chord symbols: M, maj, +, △ Common minor chord symbols: m, min, -

Chord Type

Nash. #

Rom. #

Chord

Notes

Chord Type

Nash. #

Rom. #

Chord

Notes

Major

1

I

F#

F# A# C#

minor

2m

ii

G#m

G# B D#

minor

3m

iii

A#m

A# C# E#

Major

4

IV

B

B D# F#

Major

5

V

C#

C# E# G#

minor

6m

vi

D#m

D# F# A#

diminished

7°

vii°

E#dim

E# G# B

F# Major 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

Major 7

1

Imaj7

F#M7

F# A# C# E#

minor 7

2m7

ii7

G#m7

G# B D# F#

minor 7

3m7

iii7

A#m7

A# C# E# G#

Major 7

4

IVmaj7

BM7

B D# F# A#

Dominant 7*

5

V7

C#7

C# E# G# B

minor 7

6m

vi7

D#m7

D# F# A# C#

half dim 7*

7ø

viiø7

E#ø7

E# G# B D#

F# Major Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of F# Major.

Major 2nd

G#

Major 3rd

A#

Perfect 4th

B

Perfect 5th

C#

Major 6th

D#

Major 7th

E#

Octave

F#

Unison

F#

F# Major 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# Major 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#