Sori _* ea Major To find the chords in a key and mode, first locate the Minor root, then count in. When you get to the center, go back to the outside and count back inwards to the root. Diminished ts Example: For Phrygian E, you count in to get E, F, G, A, and B, then go back to the outside to get C and D.Scales & Chords: Chromatic A A# B Intervals H H H x0 x x x x x x x x Heptatonic Scales (7 notes per octave Heptatonic scales are made up of whole and half step Each scale has exactly two half steps, seperated by exactly two whole steps. There are only 7 ways to do this with 12 notes: Ionian (Major) Intervals WoW oH W W W oH Tonian C c D ECE FOG A B Ionian Chord Forms I ii iii Iv v vi vii? Ionian C Chords Cc Dm Em FG Am _ Be Dorian Intervals Wo oH W W W H WwW Dorian C Cc D D# F G A At Same notes and chords as Bb Major and G minor keys Dorian Chord Forms i ii IIIT IV v_ vi° VIL Dorian C Chords (Givi Din DMs Rees GmpeACeer Ag) Phrygian Intervals ee We We Wee WW Phrygian C Cc C# D# F G G# At Same notes and chords as Ab Major and F minor keys Phrygian Chord Forms i II III iv v9 VI vii Phrygian C Chords Cm C# D# Fm G° G# A#m Lydian Intervals WoW W oH W W oH Lydian C c D CE Fe G A B Same notes and chords as G Major and E minor keys Lydian Chord Forms I If iii iv? V vi vii Lydian C Chords (CoD ne Emme hce Gee Anam Mixolydian Intervals W oW oH Ww W oH W Mixolydian C Cc D E F G A At Same notes and chords as F Major and D minor keys Mixolydian Chord Forms Z ii iii° IV v_ vi VII Mixolydian C Chords Cc Dm _£° Fo Gm Am __A# Aeolian (minor) Intervals W H W W oH W W Aeolian C Cc D DH F G Gt At Same notes and chords as Eb Major and C minor keys Aeolian Chord Forms i ii° III iv v_ VI VII Aeolian C Chords Cm_D°_ D# Fm Gm G# A# Locrian Intervals H W W H W W W Locrian C C CH D# F FH GH A# Same notes and chords as Db Major and Bb minor keys Locrian Chord Forms if II iii iv V VI vii Locrian C Chords Co C# Ditm Fm Fi G# AtmInteger Nota n Integer notation is a way to describe pitch intervals. I like it because it makes it clear how many semitones are between two notes, which is useful for chord formulas. In an octave, here is how that works with C as the root: Chromatic: A A# B C C# D D# E F Fe G G# Tie Go Ge fl fe fe tle OF if tle the i oo See COC CCC CCC CMECCCCms Integer notation is zero indexed, with modulo 12 counting, so after 11 it loops back to @. C is @ when it is the root, and the C one octave above the root is @ again. The root in any chord is the first note played, so if we made E the root, for example, then C becomes 8, like so: Chromatic A A# B C C# D D# E F FH G_ G# Intervals H H HH H HH H HH HH Integers: 5 6 7 8 9 10 11 ®© 1 2 3 4 When used to describe a chord, set notation is used: {x, y, z} Examples: Chord Notes Integer Notation C Major: Geta {0, 4, 7} E Major: E, G#, B {@, 4, 7} The integer notation is the same for all the Major chords. It's also the same for all minor chords, diminished chords, augmented chords, etc. Just make the root zero and count from there to build the chord. C Major: c, E, G {0, 4, 7} C minor: C, Eb, G {®, 3, 7} C Diminished: C, Eb, Gb {0, 3, 6} C Augmented: Cc, E, G# {0, 4, 8} C Sus4: C.F, G (Os oe ay C Sus2: Cc, D, G {@, 2, 7} Cmaj7: CE, G, B {0, 4, 7, 11} C Dominant 7th (C7): c, E, G, Bb {0, 4, 7, 10} m7: C, Eb, G, Bb {0, 3, 7, 10} C7: C, Eb, Gb, A {@, 3, 6, 9} C Half Diminished (Cm7b5): C, Eb, Gb, Bb {@, 3, 6, 10} C Add 9: c, D, E, G {0, 2, 4, 7} Octave doubling is when you play a note on top of the same note, one octave higher. Like in power chords, for example. I don't think there is a standard way to notate this, so I'm just going to use +12 to denote it, like this: C5 (power): C, G, G {0, 7, 7412}Building Chords in a Key To find the chords in a key, you take each note in the key's scale, and to it, you add the note 2 notes above it, and the note 4 notes above it, to form a triad. For example, the notes in the key of C are C, D, E, F, G, A, and B To make the C chord, we combine C, E, and G To make the D chord, we combine D, F, and A To make the E chord, we combine E, G, and B To make the F chord, we combine F, A, and C To make the G chord, we combine G, B, and D To make the A chord, we combine A, C, and E To make the B chord, we combine B, D, and F Major, Minor and Diminished To know if a chord is major, minor, or diminished, you need to look at the intervals in it. These chords may be equally spaced out in the scale, but the scale is not equally spaced, interval-wise The C chord above is C, E, and G. In interval notation, that is {@, 4, 7} {®, 4, 7} is the integer notation for a major chord, so this chord is C Major The D Chord is D, F, A, or {@, 3, 7}. {®, 3, 7} is the notation for a minor chord, so this chord is D minor Tie-e chord 25 8, 0: Fr. on (8. 3. 6) {®, 3, 6} is the notation for a diminished chord, so this chord is B° We repeat this process for every chord in the Key of C, to discover that the chords in the key of C are as follows: C Major D minor E minor F Major G Major minor B diminished > This process can be used on all scales, in any mode, to derive the chords in that key.Chord Type Notatio When writing about chords, the roman numeral indicates the scale degree, and the case of the roman numeral indicates the chord type The degree symbol denotes diminished chords. The degree refers to whether the chord is the 1st, 2nd, 3rd, 4th, 5th, 6th, or 7th chord in the key. In the key of C major, for example, C is the 1st degree, Dm is the 2nd degree, Em is the 3rd degree, F is the 4th degree, G is the 5th degree, Am is the 6th degree, and B° is the 7th degree. The following notation is used to describe chord types: I, II, III, IV, V, VI, VII: Major chords i, ii, iii, iv, v, vi, v. minor chords ie, ii®, iii°, iv°, v°, vi®, viie: Diminished chords Chord Types in the Modes: The 7 modes contain the following chord types: (cD) toniena(Majon)) a Te diee 1n eye Vee vie vile (II) Dorian iii TTI IV v_ vi? VII (III) Phrygian i Ir iv v° VI vii (IV) Lydian I Ir ive Voovi vii (V) Mixolydian ts ee vie | Vor (VI) Aeolian (minor) i ii? iv vo VI VIL (VII) Locrian i? It iii iv Vo VI vii Relative Modes: Modes can have the same notes and chords as other major and minor keys. For example, C Dorian has the same notes and chords as Bb Major and G minor. See the Circle of Sths diagram for a full list of relative modes.Chord Progressions Chord progressions are commonly used sequences of chords. Sometimes this is referred to as diatonic harmony. Here is a general rule for writing a song in a major key. Start with 1, then pick any other chord to go to next and follow the rules listed here. (7 indicates a seventh chord) 1 to any 2 to 57 3 to 4 4 to 1 or 57 57 to 1 6 to 2 I am using arabic numerals instead of roman numerals to indicate that the scale degree in any mode, or major or minor scaleThe Character of Sound: If you play the scales through, you will find that enharmonic scales convey different feelings, even though they have the same notes. Look at C Major (Ionian) and A minor (Aeolian). They have the exact same notes. C Major sounds brighter, though, and A minor sounds darker. Why? The individual tones can't be causing that, because both scales have the exact same tones. The difference between C Major and A minor are the intervals. The major (ionian) intervals sound bright, and the minor (aeolian) intervals sound dark. In other words... HWW WH WHWWHWW Bright Dark The character of a sound is largely defined by the sound that preceeded it. Music is not really about notes, it's about the negative space between the notes. We call this negative space intervals. This is why interval training your ear is important. When you practice scales, you are not just learning how to play a series of notes. You are training your ear to recognize the intervals between notes. Try to consciously pay attention to the sounds that are not played between two notes. Chord Progressions Guitar songs are usually composed of chord progressions. One way to understand what chords sound good together is by studying keys and modes. If you know the keys and what chords are in what keys, and what order those chords go in, that will help you know what chords to use in a song. To get keys into your head, practice playing all the chords in a particular key, just like you do with your scales practice, until you get a feel for the key, so you can recognize it when you want to try to transcribe a song that you heard.C Ma jor G Ma jor Relative minor: A minor Relative minor: E minor C D E F G A BiG A B c oD E Fe 1 2 3 4 5 6 7\1 2 3 4 5 6 7 Cc Dm Em F G Am B°|}G Am Bm C D_— Em F#° D Major A _ Major Relative minor: B minor Relative minor: F# minor D E F# GA B C#\A B c# DE FH G# lt 2 3 4 5 6 7 \1 2 3 4 5 6 7 D Em F#mG A Bm C#°}A Bm C#m D E F#m G#° E Major B/Cb Major Relative minor: C# minor Relative minor: G# minor E Fe G# A B C# D#|B C# D# E Fa G# At 1 2 3 4 5 6 7 {i 2 3 4 5 6 7 E F#m Gem A B C#m D#°|B C#m D#m E F# G#m A#° F#/Gb Major Db/C# Major Relative minor: D# minor Relative minor: B> minor Fe G# A# B Cee Dieke | DbEsEbEar Gb_Ab_ Bb C 1 2 3 4 5 6 7 }]1 2 3 4 5 6 7 Fe G#m A#m B C# D#m F°|Db Ebm Fm Gb Ab Bbm C° Ab Major Eb Major Relative minor: F minor Relative minor: C minor Ab_ Bb C Db Eb F G|Eb F G Ab_ Bb C D 1 2 3 4 5 6 7\1 2 3 4 5 6 7 Ab Bbm Cm Db Eb Fm G°/Eb Fm Gm Ab Bb Cm D° Bb Major F Major Relative minor: G minor Relative minor: D minor Bb C D Eb_F G A\E G A Bb C D E 1 2 3 4 5 6 7\1 2 3 4 5 6 7 Bb Cm Dm Eb F Gm A°/}F Gm Am Bb C_ Dm E°C_minor G minor Relative Major: Eb Major Relative Major: Bb Major C D Eb_F Gi ADEBO) || Gir Awe DDE. G D Eb F 1 2 3 4 5 6 7 /1 2 3 4 5 6 7 Cm D° Eb Fm Gm Ab Bb/Gm A° Bb Cm Dm Eb F D_minor A_minor Relative Major: F Major Relative Major: C Major D E F GA Bb CJA Bc OD E F G lt 2 3 4 5 6 a \ el 2 3 4 5 6 i Dm E° F Gm Am Bb C/Am B° C Dm Em F G E minor B_ minor Relative Major: G Major Relative Major: D Major E F# G A BC D|jB Cc# D E F# G A al 2 3 4 5 6 a \al 2 3 4 > 6 Ts Em F#° G Am Bm C D|Bm C#° D Em F#mG A F# minor C# minor Relative Major: A Major Relative Major: E Major Ft G# AB Cc# D E;}c# D# E F# G# AB 1 2 3 4 5 6 7/1 2 3. 4 5 6 7 F#m G#° A Bm C#m D E| C#m D#° E F#m Gem A B G#/Ab_ minor Eb/D# minor Relative Major: B Major Relative Major: Gb Major Gt At B C# D# E F#/Eb F Gb Ab Bb Cb Db 1. 2°53 4 ~=5 6 7/1 2 +3 +4 «5 67 G#m A#° B C#m D#m E F#]Ebm F° Gb Abm Bbm B Db Bb/A# minor F_ minor Relative Major: Db Major Relative Major: Ab Major Bb C Db_ Eb F Gb Ab|]F_ G__Ab_ Bb C Db Eb 1 2 3 4 5 6 7 }]1 2 3 4 5 6 7 Bbm C° Db Ebm Fm Gb Ab|Fm G° Ab Bbm Cm Db EbF Major Relative minor: D minor FG A BbC DE 1203 4 5 6 7 F Gm Am Bb C Dm E°C Major Relative minor: A minor c DE F GAB ey ee ee Cc Dm Em F G Am B°G Major Relative minor: E minor GAB C DE F# 1203 4 5 6 7 G Am Bm C D_ Em F#°D Major Relative minor: B minor DE FH GA B C# 12.3 45 6 7 D Em F#m G A Bm C#°A _ Major Relative minor: F# minor A_B C# D_E F# G# 1.2E Major Relative minor: C# minor E FH G# AB C# D# 12 3 456 7 E F#m G#m A B C#m D#°B/Cb Major Relative minor: G* minor BCH D# E Fi G# At 12 3 4 5 6 7 B C#m D#m E F# G#m A#° E 0F#/Gb Major Relative minor: D# minor FH GH A# B C# D# F 1.2 3 4° 5 6 7 F# G#m A#m B C# D#m F°Db/c# Major Relative minor: Bb minor Db Eb_F_Gb Ab Bb C 12 3.4 5 6 7 Db Ebm Fm Gb Ab Bbm C° (F) A® F Ae Ce OFAb Major Relative minor: F minor Ab Bb C Db EbF G 1.2 3.4 5 6 7 Ab Bbm Cm Db Eb Fm G° B’m/A*m (ii) At -C#-F DG A G aRelative minor: C minor Eb F_G Ab BbC D oy ee ee Eb Fm Gm Ab Bb Cm D®° Eb Major E*/D* Major (1) D#-A#-G Rat Go) B’/A* Major (V) EBb Major Relative minor: G minor Bbc D EbF GA 1203 4 5 6 7 Bb Cm Dm Eb F_ Gm A°D minor Relative Major: F Major DE F G A Bb C 1203 4 5 6 7 Dm E° F Gm Am Bb C En ae) B’/A* Major (VI Cc Major (vil) A, feDe 2 2 is Doe A SerenA minor Relative Major: C Major AB C DE FG 123 4 5 6 7 Am B° C Dm Em F G En ae) oo on ow omE minor Relative Major: G Major E FH G A BC D 1273 4 5 67 Em F#° G Am Bm C D OD OU Oa ow om E 0 a a a a a F*°/G"° (ii°) E FR-A-C D AB minor Relative Major: D Major Bo Cc# DE FH GA 1.2 3.4 °5 6 7 Bm C#° D Em F#m G AF# minor Relative Major: A Major FH G# A B C# D_ CE 1 2 3.4 °5 6 7 F#m G#° A Bm C#m D €EC# minor Relative Major: E Major C# D# E FH G# A B 1 2 34 5 6 7 C#m D#° E F#m G#m A BG#/Ab minor Relative Major: B Major GH _A# BCH D# E F# 2734 5 6 7 Gam A#° B C#m D#m © F# —E A D G B E 6 xX xX xX 0.6 aeetee | 4Q1761%1 FASB E, c F 625922 | “o2"o2 eons “is 4-H 9 E a My OG B E D*m/E’m (v) D# - F# At Nee Ge 0 02, |_| 3 4, TT de oe pe F*/G" Major (VII) FH -A#-C# D G EA BoEEb/D# minor Relative Major: Gb Major Eb_F Gb Ab_Bb_B Db 123-4 5 67 Ebm F° Gb Abm Bbm B Db Rite {2 D°/C* Major (VII GF E A G B E x = lo . 3he 4 $ - CG F Gt CGFBb/A# minor Relative Major: Db Major Bb_C Db Eb F Gb Ab 123 4 5 6 7 Bbm C° Db Ebm Fm Gb Ab A°/G* Major (VII) # Gt DF minor Relative Major: Ab Major FE G Ab Bb_C_ Db Eb 1 2.3 4 5 6 7 Fm G° Ab Bbm Cm Db EbC minor Relative Major: Eb Major Cc D_EbF G Ab Bb 1203 4 5 6 7 Cm D° Eb Fm Gm Ab Bb —E A DG BE xX X 0 0 X X a DF G E*/D* Major (III D#-A#-G a oe ec A’/G* Major (VI) —_B®/A* Major (VII) -C- D# A#-D-F 6G minor Relative Major: Bb Major G A BbC D _ EbF 1203 4 5 67 Gm A° Bb Cm Dm Eb F E B’/A* Major (Ill) A®-D-F a “DG a ec