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COMMON SCALES 3 4 2 3 3 Where scales begin with COMMON CHORDS

Right-hand fingerings Inversions of the chord
3 2 4 3 3 accidental notes (flats and
A scale is a collection of notes that have a musical connection. Scales are characterised and distinguished by their different interval A chord is any harmonic set of two or more (usually three or more) notes (pitches) that are played Notes in
Left-hand fingerings sharps), this indicates what In the instance of accidental notes
the chord
this poster), but below are some of the most popular and frequently used. Please note that for ease of reading, the flat symbol ( b )
patterns. They are the building blocks for chords and the starting points for composition. There are many scales (too many to fit on 1 1 2 simultaneously. For many practical and theoretical purposes, arpeggios and broken chords may also be (flats and sharps), this indicates what
Notes in the scale 1 2 1 the scale is most commonly C#•E•G#
has been substituted for a lower case ‘b’ ( b ), the double-flat symbol ( º ) for two b’s ( bb ), the sharp symbol ( # ) for a hash
considered as chords. The most frequently encountered chords are triads, so called because they consist of

Ü
referred to as (e.g is it C# Grid reference the chord is commonly referred to as
Grid reference three distinct notes - the root note, and intervals of a 3rd and a 5th above the root note. An ordered series of E•G#•C# / G#•C#•E
(e.g is it C# major or Db major)
CD2 C#•D#•E•F#•G#•A•B#•C# C# major or Db major) CD6 C#
symbol ( # ) and the double-sharp symbol ( ) for two hash symbols ( ## ). chords is called a chord progression.

MAJOR NATURAL MINOR MELODIC MINOR HARMONIC MINOR MAJOR MINOR AUGMENTED DIMINISHED DOMINANT SEVENTH
The most common of all scales, each scale starts with the Each natural minor scale shares the same notes (albeit in a This scale is played differently ascending and descending. One of three minor scales, the harmonic minor scale is often A major chord consists of three notes A minor chord is formed by playing An augmented chord is formed by A diminished chord is formed by A dominant seventh chord consists
root note and ascends up the keyboard in the following different order) as its ‘relative’ major scale. To find its ‘relative Going up the scale you use the melodic minor, going down referred to as ‘the’ minor scale. It differs from the major - the root, 3rd and 5th of the scale. Its the root, flattened 3rd, and 5th of the playing the root, 3rd and sharpened playing the root, flattened 3rd and of four notes - the root, 3rd, 5th and
increments: Tone, Tone, Semitone, Tone, Tone, Tone, Semitone. major’, just add 3 semitones to whatever key you’re starting the scale you play the natural minor (using the associated scale with flattened 3rd and 6th notes, following the pattern: symbol is ‘M’ or ‘maj’. For example, scale. Its symbol is ‘m’ or ‘min’. For 5th of the scale. Its symbol is ‘aug’ or flattened 5th of the scale. Its symbol is flattened 7th of the scale. Its symbol is
from. For example, ‘A natural minor’ would have the relative fingerings for both). It differs from the natural minor scale with Tone, Semitone, Tone, Tone, Semitone, Augmented Second, ‘C major’ can be written as ‘CM’ or example, ‘C minor’ can be written as ‘+’. For example, ‘C augmented’ can ‘dim’ or ‘°’. E.g ‘C diminished’ can be ‘dom’ or ‘7’. E.g ‘C dominant seventh’ www.TheReallyUsefulPosterCompany.com
KEY SIG.
▼ major of C (A natural minor being C majors ‘relative minor’). the 6th and 7th notes being raised a semitone. Semitone. ‘Cmaj’. ‘Cm’ or ‘Cmin’. be written as ‘Caug’ or ‘C+’. written as ‘Cdim’ or ‘C°’. can be written as ‘Cdom’ or ‘C7’.

MUSICAL NOTATION & SIGHT READING

Below is a handy reference to different musical notations, terms and a diagram to
3 3 4 3 3 3
help you with sight reading.
C
3 3 2 3 3 3

1 2 3 1 2 3 4 5 1 2 1 2 5 1 2 1 2 3 4 5 1 2 1 2 4 5 THE GRAND STAVE (STAFF)

5 4 3 2 1 3 2 1 5 4 2 1 1 5 4 2 1 3 2 1 5 4 2 1 2 1 C•E•G C•Eb•G C•E•G# C•Eb•Gb C•E•G•Bb 7
E•G•Bb•C / G•Bb•C•E /
5
C•D•Eb•F•G•A•B•C E•G•C / G•C•E Eb•G•C / G•C•Eb E•G#•C / G#•C•E Eb•Gb•C / Gb•C•Eb
C1 C•D•E•F•G•A•B•C C2 C•D•Eb•F•G•Ab•Bb•C C3 Descending Notes and Fingerings: See adjacent Natural Minor C4 C•D•Eb•F•G•Ab•B•C C5 C6 C7 C8 C9 Bb•C•E•G

6
1 2
3 4 8 9

C # 2 3 2 3 4 2 3 4 2 3 3 2 3 2 3 4 2 3 4 2 3 3

Db
3 2 4 3 2 3 3 2 4 3 3 3 2 4 3 2 3 3 2 4 3 3

1 1 1 1 2 1 1 1 1 2
1 1 1 2 1 1 1 1 2 1 Db•F•Ab C#•E•G# C#•E#•G## C#•E•G Db•F•Ab•Cb 1. A brace connecting the bass and treble clef forms the grand stave (staff).
F•Ab•Cb•Db / Ab•Cb•Db•F /
C#•D#•E•F#•G#•A#•B#•C# F•Ab•Db / Ab•Db•F E•G#•C# / G#•C#•E E#•G##•C# / G##•C#•E# E•G•C# / G•C#•E 2. The treble clef. This is usually played with the right hand.
CD1 Db•Eb•F•Gb•Ab•Bb•C•Db Db CD2 C#•D#•E•F#•G#•A•B•C# C# CD3 Descending Notes and Fingerings: See adjacent Natural Minor C# CD4 C#•D#•E•F#•G#•A•B#•C# C# CD5 Db CD6 C# CD7 C# CD8 C# CD9 Cb•Db•F•Ab Db
3. The bass clef. This is usually played with the left hand.
4. Accidentals denoting which notes in the piece are sharp ( # ) and which are flat
( b ), and therefore defining the key signature of the piece (see below for more on
key signatures).
3 4 3 4 3 4

D
3 2 3 2 3 2 5. The time signature of the piece. The top number determines how many beats
1 2 1 2 3 5 1 2 3 1 2 4 5 1 2 3 1 2 3 5 1 2 3 1 2 5 there are per bar (measure) - in this case 2 beats. The bottom number denotes
5 4 2 1 3 1 5 4 3 2 1 2 1 5 4 3 2 1 3 1 5 4 3 2 1 1 D•F#•A D•F•A D•F#•A# D•F•Ab D•F#•A•C the length of the notes in the piece - in this case crotchets (quarter notes (4)). See
F#•A•C•D / A•C•D•F# / below for more information on note lengths.
D•E•F•G•A•B•C#•D F#•A•D / A•D•F# F•A•D / A•D•F F#•A#•D / A#•D•F# F•Ab•D / Ab•D•F
D1 D•E•F#•G•A•B•C#•D D2 D•E•F•G•A•Bb•C•D D3 D4 D•E•F•G•A•Bb•C#•D D5 D6 D7 D8 D9 C•D•F#•A
Descending Notes and Fingerings: See adjacent Natural Minor 6. Ledger lines. Ledger lines extend above and below the stave, allowing for higher
or lower notes to be shown than would otherwise fit on the stave.
7. The vertical lines on the stave mark the bars (measures). Bars are used to divide
and organise music according to the time signature. The time signature will
D# 3 3 4 3 3 2 3 4 2 3 3 2 3 4 3 3 2 3 4 3 determine how many beats there are in a bar.

Eb
3 4 3 3 2 4 3 2 3 2 2 4 3 2 2 2 4 3 2 2
8. This marks a single octave.
1 2 1 2 1 1 1 1 2 1 1 2
2 1 2 1 1 1 1 1 3 1 1 3 Eb•G•Bb Eb•Gb•Bb Eb•G•B Eb•Gb•Bbb Eb•G•Bb•Db 9. The thick double bars mark the end of a piece of music.
G•Bb•Db•Eb / Bb•Db•Eb•G /
Eb•F•Gb•Ab•Bb•C•D•Eb G•Bb•Eb / Bb•Eb•G Gb•Bb•Eb / Bb•Eb•Gb G•B•Eb / B•Eb•G Gb•Bbb•Eb / Bbb•Eb•Gb
DE1 Eb•F•G•Ab•Bb•C•D•Eb Eb DE2 Eb•F•Gb•Ab•Bb•Cb•Db•Eb Eb DE3 Eb DE4 Eb•F•Gb•Ab•Bb•Cb•D•Eb Eb DE5 Eb DE6 Eb DE7 Eb DE8 Eb DE9 Db•Eb•G•Bb Eb
KEY SIGNATURES (MAJOR/minor)
Descending Notes and Fingerings: See adjacent Natural Minor

2 3 3 4 2 2 3 4 2 4 C/a G/e D/b A / f# E / c# B / g#

E
4 3 3 2 4 4 3 2 4 2

1 1 2 5 1 3 1 2 3 4 5 1 3 1 2 5 1 3 1 2 3 5
5 2 1 1 5 3 2 1 3 2 1 5 3 2 1 1 5 3 2 1 3 1 E•G#•B E•G•B E•G#•B# E•G•Bb E•G#•B•D
G#•B•D•E / B•D•E•G# /
E•F#•G•A•B•C#•D#•E G#•B•E / B•E•G# G•B•E / B•E•G G#•B#•E / B#•E•G# G•Bb•E / Bb•E•G
E1 E•F#•G#•A•B•C#•D#•E E2 E•F#•G•A•B•C•D•E E3 Descending Notes and Fingerings: See adjacent Natural Minor E4 E•F#•G•A•B•C•D#•E E5 E6 E7 E8 E9 D•E•G#•B
F/d Bb / g Eb / c Ab / f Db / b flat Gb / eb

COMMON NOTATION
Semibreve (Whole note) (4 beats) Accent (emphasis on a note/notes)
4 3 4 2 3 3 4 3 4 2 Minim (Half note) (2 beats) Marcato (play louder/with force)
F
2 3 2 3 2 3 2 3 2 3
Crotchet (Quarter note) (1 beat) Tenuto (hold for the notes full length)
1 2 3 1 2 3 4 1 2 1 4 1 2 1 2 3 4 1 2 1 3 4
5 4 3 1 3 2 1 5 4 1 1 5 4 1 3 2 1 5 4 1 2 1 F•A•C F•Ab•C F•A•C# F•Ab•Cb F•A•C•Eb Quaver (Eighth note) (1/2 beat) Sforzando (decrease in loudness)
A•C•Eb•F / C•Eb•F•A / Semiquaver (16th note) (1/4 beat) Fermata (prolong the note)
F•G•Ab•Bb•C•D•E•F A•C•F / C•F•A Ab•C•F / C•F•Ab A•C#•F / C#•F•A Ab•Cb•F / Cb•F•Ab
F1 F•G•A•Bb•C•D•E•F F2 F•G•Ab•Bb•C•Db•Eb•F F3 F4 F•G•Ab•Bb•C•Db•E•F F5 F6 F7 F8 F9 Eb•F•A•C
Descending Notes and Fingerings: See adjacent Natural Minor Dotted note (add half the note value) Pianissimo (play very softly)
Semibreve rest (Whole rest) (4 beats) Piano (play softly)
Minim rest (Half rest) (2 beats) Mezzo Piano (play moderately soft)
Crotchet rest (Quarter rest) (1 beat) Mezzo Forte (play moderately loud)
F # 2 3 4 2 3 2 2 3 3 3 2 3 3 4 2 2 3 3 3
Quaver rest (Eighth rest) (1/2 beat) Forte (play loud)

Gb
4 3 2 3 2 4 4 3 3 4 4 3 3 2 4 4 3 3 4

1 1 1 2 1 2 1 2 1 1 2 1 2 Semiquaver rest (16th rest) (1/4 beat) Fortissimo (play very loud)
1 1 2 1 2 1 2 1 1 2 1 2 1 F#•A#•C# F#•A•C# F#•A#•C## F#•A•C F#•A#•C#•E Ritardando (Rit.) (decreased tempo) Crescendo (gradually increase vol.)
A#•C#•E•F# / C#•E•F#•A# /
F#•G#•A•B•C#•D#•E#•F# A#•C#•F# / C#•F#•A# A•C#•F# / C#•F#•A A#•C##•F# / C##•F#•A# A•C•F# / C•F#•A Rallentando (Rall.) (slow down) Decrescendo (gradually decrease vol.)
FG1 Gb•Ab•Bb•Cb•Db•Eb•F•Gb Gb FG2 F#•G#•A•B•C#•D•E•F# F# FG3 Descending Notes and Fingerings: See adjacent Natural Minor F# FG4 F#•G#•A•B•C#•D•E#•F# F# FG5 F# FG6 F# FG7 F# FG8 F# FG9 E•F#•A#•C# F#
Flat (semitone lower in pitch) Repeat (section should be repeated)
Sharp (semitone higher in pitch) Dal Segno (repeat passage from here)
Natural (cancels previous accidentals) Segno (repeat passage from here)
4 3 3 3 3 3 3 4 Staccato (play short and sharp) Coda (passage that ends a piece)

G
2 3 3 3 2 3 3 2
Tempo Ranges BPM Adagio 60-70 Allegro 115-140
1 2 3 1 2 3 5 1 2 1 2 4 5 1 2 4 1 2 4 1 2 1 2 5
5 4 3 2 1 3 1 5 4 2 1 2 1 5 4 2 1 3 1 5 4 2 1 1 G•B•D G•Bb•D G•B•D# G•Bb•Db G•B•D•F Grave 40-50 Andante 70-85 Vivace 140-150
B•D•F•G / D•F•G•B / Largo 50-55 Moderato 85-100 Presto 150-170
G•A•Bb•C•D•E•F#•G B•D•G / D•G•B Bb•D•G / D•G•Bb B•D#•G / D#•G•B Bb•Db•G / Db•G•Bb
G1 G•A•B•C•D•E•F#•G G2 G•A•Bb•C•D•Eb•F•G G3 G4 G•A•Bb•C•D•Eb•F#•G G5 G6 G7 G8 G9 F•G•B•D Larghetto 55-60 Allegretto 100-115 Prestissimo 170+
Descending Notes and Fingerings: See adjacent Natural Minor

WRITING CHORDS TO A SONG

When writing chord progressions, roman numerals are used to indicate a chords
G# 3 4 2 3 3 3 4 2 3 2 3 3 4 2 3 3 2 3 2 3 3
position relative to the scale. In order to write chord progressions for any Major or

Ab
3 2 4 3 3 3 2 3 2 3 2 3 2 4 3 3 3 2 3 2 2
Minor key, we can follow these simple formulae.
1 1 2 1 1 1 1 2 1 1 2
1 2 1 1 1 1 2 1 1 1 3 Ab•C•Eb G#•B•D# Ab•C•E G#•B•D Ab•C•Eb•Gb
C•Eb•Gb•Ab / Eb•Gb•Ab•C / Major Chords
G#•A#•B•C#•D#•E#•F##•G# C•Eb•Ab / Eb•Ab•C B•D#•G# / D#•G#•B C•E•Ab / E•Ab•C B•D•G# / D•G#•B
GA1 Ab•Bb•C•Db•Eb•F•G•Ab Ab GA2 G#•A#•B•C#•D#•E•F#•G# G# GA3 G# GA4 G#•A#•B•C#•D#•E•F##•G# G# GA5 Ab GA6 G# GA7 Ab GA8 G# GA9 Gb•Ab•C•Eb Ab Sequence Major Minor Minor Major Major Minor Dim.
Descending Notes and Fingerings: See adjacent Natural Minor
Position I ii iii IV V vi vii°
Example Cmaj Dm Em Fmaj Gmaj Am Bdim
(C major)

3 3 4 3 4 4
Minor Chords
A
3 3 2 3 2 2
Sequence Minor Dim. Major Minor Minor Major Major
1 2 1 2 5 1 2 3 1 2 3 4 5 1 2 3 1 2 5 1 2 3 1 2 3 5
5 4 2 1 1 5 4 3 2 1 3 2 1 5 4 3 2 1 1 5 4 3 2 1 3 1 A•C#•E A•C•E A•C#•E# A•C•Eb A•C#•E•G Position i ii° III iv v VI VII
C#•E•G•A / E•G•A•C# / Example Am Bdim Cmaj Dm Em Fmaj Gmaj
A•B•C•D•E•F#•G#•A C#•E•A / E•A•C# C•E•A / E•A•C C#•E#•A / E#•A•C# C•Eb•A / Eb•A•C
A1 A•B•C#•D•E•F#•G#•A A2 A•B•C•D•E•F•G•A A3 A4 A•B•C•D•E•F•G#•A A5 A6 A7 A8 A9 G•A•C#•E (A minor)
Descending Notes and Fingerings: See adjacent Natural Minor

THE CIRCLE OF FIFTHS

The circle of fifths is a
A# 4 3 4 2 2 3 2 3 4 4 2 3 4 2 2 3 2 4
diagrammatic representation of

Bb
3 4 3 2 3 2 4 3 2 2 4 3 2 2 3 2 4 2
the relationship between the
1 2 1 2 3 1 1 1 1 2 3 1 1 3
2 1 3 2 1 1 1 1 2 1 3 1 1 3 Bb•D•F Bb•Db•F Bb•D•F# Bb•Db•Fb Bb•D•F•Ab 12 tones of the chromatic
D•F•Ab•Bb / F•Ab•Bb•D / scale. For example, the
Bb•C•Db•Eb•F•G•A•Bb D•F•Bb / F•Bb•D Db•F•Bb / F•Bb•Db D•F#•Bb / F#•Bb•D Db•Fb•Bb / Fb•Bb•Db scales of ‘F major’ and
AB1 Bb•C•D•Eb•F•G•A•Bb Bb AB2 Bb•C•Db•Eb•F•Gb•Ab•Bb Bb AB3 Bb AB4 Bb•C•Db•Eb•F•Gb•A•Bb Bb AB5 Bb AB6 Bb AB7 Bb AB8 Bb AB9 Ab•Bb•D•F Bb
Descending Notes and Fingerings: See adjacent Natural Minor ‘G major’ differ from the
scale of ‘C major’ by just 1
note, which is why they are
placed either side of ‘C’
2 3 2 3 4 2 2 2 2 3 4 2 2 4
on the circle. Knowing this
helps when building chord
B
3 2 4 3 2 3 4 3 4 3 2 3 4 2
progressions and harmonies.
1 1 5 1 3 1 3 4 5 1 3 1 5 1 3 1 3 5
4 1 1 4 2 1 3 2 1 4 2 1 1 4 2 1 3 1 B•D#•F# B•D•F# B•D#•F## B•D•F B•D#•F#•A Outer ring: Major keys
D#•F#•A•B / F#•A•B•D# / Middle ring: Minor keys
B•C#•D•E•F#•G#•A#•B D#•F#•B / F#•B•D# D•F#•B / F#•B•D D#•F##•B / F##•B•D# D•F•B / F•B•D
B1 B•C#•D#•E•F#•G#•A#•B B2 B•C#•D•E•F#•G•A•B B3 Descending Notes and Fingerings: See adjacent Natural Minor B4 B•C#•D•E•F#•G•A#•B B5 B6 B7 B8 B9 A•B•D#•F# Inner ring: Relative position

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CHORD PROGRESSION OVERVIEW NOTATION

The Major and Minor scales are the most commonly used scales in Western music. Each of these scales contains 7 notes, and each of these notes form the ‘root’ of its own chord. Therefore, every Major
and Minor scale has its own unique ‘set’ of 7 chords. There are 3 types of chord used within each set - major chords, minor chords and diminished chords. The sequence of chord types used in each set is
dependent on whether the scale is Major or Minor, and is defined using a simple formula.
What is a chord? A chord is simply 2 or more notes played together, usually played at the same time. Although chords can technically contain many more notes, the most common type of chord is called
a ‘triad’, named as such because they contain 3 notes. It is triads that we will exclusively reference throughout this poster. What is a chord progression? A chord progression is just 2 or more chords played
in sequence. How that sequence of chords is determined, is up to the composer. However, using the 24 sets of chords below is a good starting point, as each set contains 7 chords that already work well
together, because they consist of notes from the same scale. Move between the chords in each set in any order you choose. Move between sets themselves to change the flow and mood of your composition.
When writing chord progressions, Roman numerals are used to indicate a chords position relative to the scale. For example, in the scale of C Major, C is the 1st (I) note in the scale, whilst E is the 3rd (III)
Chord progressions made easy with... www.TheReallyUsefulPosterCompany.com and G is the 5th (V). Furthermore, the Roman numeral is written in capitals if the chord is major (I, II, III, IV etc), lowercase if the chord is minor (i, ii, iii, iv) or lowercase with a superscript circle if the chord
is diminished (io, iio, iiio, ivo). Therefore, if someone refers to a chord progression of I, iii, V, viio - they are asking you to play the first note in the scale as a major chord, the third note in the scale played as
a minor chord, the fifth note in the scale played as a major chord and the seventh note in the scale played as a diminished chord. If the scale of the piece was C for example, this would translate to Cmaj,
Emin, Gmaj, Bdim. Some popular examples of chord progressions are: Major (I - IV - V / I - vi - IV - V / ii - V - I) Minor (i - VI - VII / i - iv - VII / i - iv - v / i - VI - III - VII / ii - v - i).
MAJOR SCALE CHORD SETS MINOR SCALE CHORD SETS For illustration, the first written note (root note) of each chord is coloured, to highlight its position within the corresponding scale. Read all 7 coloured notes from left to right and you have the 7 notes for that
scale as a handy reminder. In the instance where the first note of the chord is written twice, with one in brackets (for example F#(Gb)), it is because the value in brackets is used in the corresponding scale,

Major chord. However, in common musical notation this chord is referred to as an F# major chord, not a Gb major chord. Please note that for ease of reading, the flat symbol ( b ) has been substituted for
Once you’re comfortable with triads you can start to introduce additional chords (such as dominant sevenths) to increase the complexity of your music (for more information on extended chords, please refer Major scale chord sets are defined by the sequence of chord types: Major, Minor scale chord sets are defined by the sequence of chord types: Minor, but the other value is more commonly used when writing the chord. For example, the scale of Db Major contains the notes Db, Eb, F, Gb, Ab, Bb, C, Db. One of the chords in that sequence would be a Gb
to The Really Useful Piano Poster). There are no hard and fast rules you must follow, and this method represents just one of the ways to come up with unique chord progressions that you enjoy. This poster
aims to provide the building blocks for improvisation - the rest is up to you.
Minor, Minor, Major, Major, Minor, Diminished (I, ii, iii, IV, V, vi, viio). For more
information on how these 3 different chord types are formed, take a look at the
Diminished, Major, Minor, Minor, Major, Major (i, iio, III, iv, v, VI, VII). For this
poster we have used the Natural Minor scale as opposed to the Harmonic or Ü
a lower case ‘b’ ( b ), the double-flat symbol ( º ) for two b’s ( bb ), the sharp symbol ( # ) for a hash symbol ( # ) and the double-sharp symbol ( ) for two hash symbols ( ## ).
chords section on The Really Useful Piano Poster. Melodic Minor scale, as it corresponds with the relative Major scale.
KEY SIG.
▼ I Major > ii Minor > iii Minor > IV Major > V Major > vi Minor > viio Diminished i Minor > iio Diminished > III Major > iv Minor > v Minor > VI Major > VII Major

C
C•E•G D•F•A E•G•B F•A•C G•B•D A•C•E B•D•F C•Eb•G D•F•Ab Eb•G•Bb F•Ab•C G•Bb•D Ab•C•Eb Bb•D•F
E•G•C / G•C•E F•A•D / A•D•F G•B•E / B•E•G A•C•F / C•F•A B•D•G / D•G•B C•E•A / E•A•C D•F•B / F•B•D Eb•G•C / G•C•Eb F•Ab•D / Ab•D•F G•Bb•Eb / Bb•Eb•G Ab•C•F / C•F•Ab Bb•D•G / D•G•Bb C•Eb•Ab / Eb•Ab•C D•F•Bb / F•Bb•D

C#
Db Db•F•Ab Eb•Gb•Bb F•Ab•C F# (Gb)•A#•C# Ab•C•Eb Bb•Db•F C•Eb•Gb C#•E•G# Eb (D#)•Gb•Bbb E•G#•B F#•A•C# G#•B•D# A•C#•E B•D#•F#
F•Ab•Db / Ab•Db•F Gb•Bb•Eb / Bb•Eb•Gb Ab•C•F / C•F•Ab A#•C#•F# / C#•F#•A# C•Eb•Ab / Eb•Ab•C Db•F•Bb / F•Bb•Db Eb•Gb•C / Gb•C•Eb E•G#•C# / G#•C#•E Gb•Bbb•Eb / Bbb•Eb•Gb G#•B•E / B•E•G# A•C#•F# / C#•F#•A B•D#•G# / D#•G#•B C#•E•A / E•A•C# D#•F#•B / F#•B•D#

D
D•F#•A E•G•B F#•A•C# G•B•D A•C#•E B•D•F# C#•E•G D•F•A E•G•Bb F•A•C G•Bb•D A•C•E Bb•D•F C•E•G
F#•A•D / A•D•F# G•B•E / B•E•G A•C#•F# / C#•F#•A B•D•G / D•G•B C#•E•A / E•A•C# D•F#•B / F#•B•D E•G•C# / G•C#•E F•A•D / A•D•F G•Bb•E / Bb•E•G A•C•F / C•F•A Bb•D•G / D•G•Bb C•E•A / E•A•C D•F•Bb / F•Bb•D E•G•C / G•C•E

D#
Eb Eb•G•Bb F•Ab•C G•Bb•D Ab•C•Eb Bb•D•F C•Eb•G D•F•Ab Eb•Gb•Bb F•Ab•Cb F# (Gb)•A#•C# G# (Ab)•B•D# Bb•Db•F B (Cb)•D#•F# Db•F•Ab
G•Bb•Eb / Bb•Eb•G Ab•C•F / C•F•Ab Bb•D•G / D•G•Bb C•Eb•Ab / Eb•Ab•C D•F•Bb / F•Bb•D Eb•G•C / G•C•Eb F•Ab•D / Ab•D•F Gb•Bb•Eb / Bb•Eb•Gb Ab•Cb•F / Cb•F•Ab A#•C#•F# / C#•F#•A# B•D#•G# / D#•G#•B Db•F•Bb / F•Bb•Db D#•F#•B / F#•B•D# F•Ab•Db / Ab•Db•F

E
E•G#•B F#•A•C# G#•B•D# A•C#•E B•D#•F# C#•E•G# Eb (D#)•Gb•Bbb E•G•B F#•A•C G•B•D A•C•E B•D•F# C•E•G D•F#•A
G#•B•E / B•E•G# A•C#•F# / C#•F#•A B•D#•G# / D#•G#•B C#•E•A / E•A•C# D#•F#•B / F#•B•D# E•G#•C# / G#•C#•E Gb•Bbb•Eb / Bbb•Eb•Gb G•B•E / B•E•G A•C•F# / C•F#•A B•D•G / D•G•B C•E•A / E•A•C D•F#•B / F#•B•D E•G•C / G•C•E F#•A•D / A•D•F#

F
F•A•C G•Bb•D A•C•E Bb•D•F C•E•G D•F•A E•G•Bb F•Ab•C G•Bb•Db Ab•C•Eb Bb•Db•F C•Eb•G Db•F•Ab Eb•G•Bb
A•C•F / C•F•A Bb•D•G / D•G•Bb C•E•A / E•A•C D•F•Bb / F•Bb•D E•G•C / G•C•E F•A•D / A•D•F G•Bb•E / Bb•E•G Ab•C•F / C•F•Ab Bb•Db•G / Db•G•Bb C•Eb•Ab / Eb•Ab•C Db•F•Bb / F•Bb•Db Eb•G•C / G•C•Eb F•Ab•Db / Ab•Db•F G•Bb•Eb / Bb•Eb•G

F#
Gb F# (Gb)•A#•C# G# (Ab)•B•D# Bb•Db•F B (Cb)•D#•F# Db•F•Ab Eb•Gb•Bb F•Ab•Cb F#•A•C# G#•B•D A•C#•E B•D•F# C#•E•G# D•F#•A E•G#•B
A#•C#•F# / C#•F#•A# B•D#•G# / D#•G#•B Db•F•Bb / F•Bb•Db D#•F#•B / F#•B•D# F•Ab•Db / Ab•Db•F Gb•Bb•Eb / Bb•Eb•Gb Ab•Cb•F / Cb•F•Ab A•C#•F# / C#•F#•A B•D•G# / D•G#•B C#•E•A / E•A•C# D•F#•B / F#•B•D E•G#•C# / G#•C#•E F#•A•D / A•D•F# G#•B•E / B•E•G#

G
G•B•D A•C•E B•D•F# C•E•G D•F#•A E•G•B F#•A•C G•Bb•D A•C•Eb Bb•D•F C•Eb•G D•F•A Eb•G•Bb F•A•C
B•D•G / D•G•B C•E•A / E•A•C D•F#•B / F#•B•D E•G•C / G•C•E F#•A•D / A•D•F# G•B•E / B•E•G A•C•F# / C•F#•A Bb•D•G / D•G•Bb C•Eb•A / Eb•A•C D•F•Bb / F•Bb•D Eb•G•C / G•C•Eb F•A•D / A•D•F G•Bb•Eb / Bb•Eb•G A•C•F / C•F•A

G#
Ab Ab•C•Eb Bb•Db•F C•Eb•G Db•F•Ab Eb•G•Bb F•Ab•C G•Bb•Db G#•B•D# Bb (A#)•Db•Fb B•D#•F# C#•E•G# Eb (D#)•Gb•Bb E•G#•B F#•A#•C#
C•Eb•Ab / Eb•Ab•C Db•F•Bb / F•Bb•Db Eb•G•C / G•C•Eb F•Ab•Db / Ab•Db•F G•Bb•Eb / Bb•Eb•G Ab•C•F / C•F•Ab Bb•Db•G / Db•G•Bb B•D#•G# / D#•G#•B Db•Fb•Bb / Fb•Bb•Db D#•F#•B / F#•B•D# E•G#•C# / G#•C#•E Gb•Bb•Eb / Bb•Eb•Gb G#•B•E / B•E•G# A#•C#•F# / C#•F#•A#

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

A#
Bb Bb•D•F C•Eb•G D•F•A Eb•G•Bb F•A•C G•Bb•D A•C•Eb Bb•Db•F C•Eb•Gb Db•F•Ab Eb•Gb•Bb F•Ab•C F# (Gb)•A#•C# Ab•C•Eb
D•F•Bb / F•Bb•D Eb•G•C / G•C•Eb F•A•D / A•D•F G•Bb•Eb / Bb•Eb•G A•C•F / C•F•A Bb•D•G / D•G•Bb C•Eb•A / Eb•A•C Db•F•Bb / F•Bb•Db Eb•Gb•C / Gb•C•Eb F•Ab•Db / Ab•Db•F Gb•Bb•Eb / Bb•Eb•Gb Ab•C•F / C•F•Ab A#•C#•F# / C#•F#•A# C•Eb•Ab / Eb•Ab•C

B
B•D#•F# C#•E•G# Eb (D#)•Gb•Bb E•G#•B F#•A#•C# G#•B•D# Bb (A#)•Db•Fb B•D•F# C#•E•G D•F#•A E•G•B F#•A•C# G•B•D A•C#•E
D#•F#•B / F#•B•D# E•G#•C# / G#•C#•E Gb•Bb•Eb / Bb•Eb•Gb G#•B•E / B•E•G# A#•C#•F# / C#•F#•A# B•D#•G# / D#•G#•B Db•Fb•Bb / Fb•Bb•Db D•F#•B / F#•B•D E•G•C# / G•C#•E F#•A•D / A•D•F# G•B•E / B•E•G A•C#•F# / C#•F#•A B•D•G / D•G•B C#•E•A / E•A•C#

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