Modes, Scales, Keys & Chords

1
C# / D
D# / E
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
E
E
E
E
E
E
E
E
E
E
E
E
E
D#
E
E
E
E
D#
E
E
E
E
D
C# / D
D# / E
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
MINOR THIRD MAJOR THIRD
10
F# / G
G# / A
F
F
F
F
F#
F#
F
F
F
F
F
F
F
F
F
G
G
G
G
G
G
G
G
G
G
G
G
F#
G
G
A
A
A
A
A
A
A
A
A
A
A
A
A
G#
G
G
G
F#
A
G
G
G
F#
A
A
A
A
A
G#
F# / G
G# / A
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
FIFTH / MINOR MAJOR SIXTH
SIXTH
11
12
13
<<------- SEMITONES
A# / B
C
C
C
C
C
C
C
C
C
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
AEOLIAN (NATURAL MINOR)
LOCRIAN
C
C
C
C
C
C
C
C
C
C
C
C
C
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
ALTERED (SUPER LOCRIAN)
BLUES (HEXATONIC)
"BLUES" (HEPTATONIC)
COUNTRY (MAJOR BLUES)
WHOLE/HALF (DIMINISHED)
HALF/WHOLE (DIMINISHED)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
A# / B
CHROMATIC
<<------- INTERVAL SPELLING
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
C# / D
D# / E
C#
C#
C#
C#
C#
C#
C#
C#
C#
/
/
/
/
/
/
/
/
/
D
D
D
D
D
D
D
D
D
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
/
/
/
/
/
/
/
/
/
/
/
/
/
D
D
D
D
D
D
D
D
D
D
D
D
D
D#
D#
D
D
D#
D#
D#
D#
D
D#
D#
D#
D#
D
D
D#
D#
D
F
E
E
F
F
F
F
E
E
F
E
F
E
E
E
E
E
E
E
D#
F
F
F
E
D#
C# / D
D# / E
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
F# / G
G# / A
A# / B
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G#
G#
G#
G#
G#
G#
G#
G#
G#
G#
G#
G#
G
G
G
B
B
A
A
B
B
B
A
A
A
A
A
B
A
G#
G#
G
G
A
G#
G#
G#
B
B
B
B
B
F# / G
G# / A
A# / B
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
<<------- SEMITONES
11
12
13
C# / D
C#
C#
C#
C#
C#
C#
C#
C#
C#
/
/
/
/
/
/
/
/
/
D
D
D
D
D
D
D
D
D
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
/
/
/
/
/
/
/
/
/
/
/
/
/
D
D
D
D
D
D
D
D
D
D
D
D
D
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
B
B
B
C
B
B
B
B
C
C
B
C
B
B
B
C
B
B
B
B
C# / D
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
CHROMATIC
D# / E
F# / G
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
F#
F
F
F#
F#
F#
F#
F
F
F#
F
F#
F
F
F
F
F
F
F
F#
F#
F#
F#
F
E
F#
D# / E
F# / G
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
G# / A
A# / B
G
G
G
G
G#
G#
G
G
G
G
G
G
G
G
G
A
A
A
A
A
A
A
A
A
A
A
A
G#
A
A
B
B
B
B
B
B
B
B
B
B
B
B
B
A#
A
A
A
G#
B
A
A
A
G#
B
B
B
B
B
A#
G# / A
A# / B
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
11
12
13
<<------- SEMITONES
C# / D
C#
D
D
D
D
D
D
D
D
D
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
D
D
D
D
D
D
D
D
D
D
D
D
D
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
C
C
C
C#
C
C
C
C
C#
C#
C
C#
C
C
C
C#
C
C
C
C
C# / D
CHROMATIC
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
D# / E
F# / G
D#
D#
D#
D#
D#
D#
D#
D#
D#
/
/
/
/
/
/
/
/
/
E
E
E
E
E
E
E
E
E
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
/
/
/
/
/
/
/
/
/
/
/
/
/
E
E
E
E
E
E
E
E
E
E
E
E
E
F
F
E
E
F
F
F
F
E
F
F
F
F
E
E
F
F
E
G
G
G
G
G
G
G
G
G
G
G
G
G
F#
G
G
G
G
F#
G
G
G
G
F
D# / E
F# / G
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
G# / A
A# / B
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
A
A
A
C
C
B
B
C
C
C
B
B
B
B
B
C
B
B
B
A
A
B
B
B
B
C
C
C
C
C
G# / A
A# / B
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
<<------- SEMITONES
11
12
13
C# / D
D# / E
D#
D#
D#
D#
D#
D#
D#
D#
D#
/
/
/
/
/
/
/
/
/
E
E
E
E
E
E
E
E
E
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
/
/
/
/
/
/
/
/
/
/
/
/
/
E
E
E
E
E
E
E
E
E
E
E
E
E
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
C# / D
D# / E
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
CHROMATIC
F# / G
G# / A
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
F#
F#
F
F
F#
F#
F#
F#
F
F#
F#
F#
F#
F
F
F#
F#
F
G#
G
G
G#
G#
G#
G#
G
G
G#
G
G#
G
G
G
G
G
G
G
F#
G#
G#
G#
G#
G
F#
G#
F# / G
G# / A
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
A# / B
C# / D
A
A
A
A
A#
A#
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
A#
B
B
C#
C#
C
C
C#
C#
C#
C
C
C
C
C
C#
C
B
B
B
A#
C
B
B
B
A#
C#
C#
C#
C#
C#
A# / B
C# / D
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
11
12
13
<<------- SEMITONES
D# / E
D#
E
E
E
E
E
E
E
E
E
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
E
E
E
E
E
E
E
E
E
E
E
E
E
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
D
D
D
D#
D
D
D
D
D#
D#
D
D#
D
D
D
D#
D
D
D
D
D# / E
CHROMATIC
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
F# / G
G# / A
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
A
A
A
A
A
A
A
A
A
A
A
A
A
G#
A
A
A
A
G#
A
A
A
A
G
F# / G
G# / A
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
A# / B
C# / D
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
C
C
C
C
C
C
C
C
C
C
B
B
B
D
D
D
D
D
D
D
D
D
D
D
D
D
C#
C
C
B
B
D
C
C
C
D
D
D
D
D
C#
A# / B
C# / D
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
11
12
13
<<------- SEMITONES
D# / E
F
F
F
F
F
F
F
F
F
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
F
F
F
F
F
F
F
F
F
F
F
F
F
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
D# / E
CHROMATIC
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
F# / G
G# / A
A# / B
F#
F#
F#
F#
F#
F#
F#
F#
F#
/
/
/
/
/
/
/
/
/
G
G
G
G
G
G
G
G
G
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
/
/
/
/
/
/
/
/
/
/
/
/
/
/
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G#
G#
G
G
G#
G#
G#
G#
G
G#
G#
G#
G#
G
G
G#
G#
G
A#
A
A
A#
A#
A#
A#
A
A
A#
A
A#
A
A
A
A
A
A
A
G#
A#
A#
A#
A#
A
G#
A#
G# / A
A# / B
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
C# / D
D# / E
B
B
B
B
C
C
B
B
B
B
B
B
B
B
B
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C#
C
C
C
D#
D#
D
D
D#
D#
D#
D
D
D
D
D
D#
D
C#
C#
C
C
D
C#
C#
C#
D#
D#
D#
D#
D#
C# / D
D# / E
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
<<------- SEMITONES
11
12
13
F# / G
F#
F#
F#
F#
F#
F#
F#
F#
F#
/
/
/
/
/
/
/
/
/
G
G
G
G
G
G
G
G
G
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
/
/
/
/
/
/
/
/
/
/
/
/
/
/
G
G
G
G
G
G
G
G
G
G
G
G
G
G
E
E
E
F
E
E
E
E
F
F
E
F
E
E
E
F
E
E
E
E
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
CHROMATIC
G# / A
A# / B
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
B
A#
B
B
B
B
A#
B
B
B
B
A
G# / A
A# / B
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
C# / D
D# / E
C
C
C
C
C#
C#
C
C
C
C
C
C
C
C
C
D
D
D
D
D
D
D
D
D
D
D
D
C#
D
D
E
E
E
E
E
E
E
E
E
E
E
E
E
D#
D
D
D
C#
E
D
D
D
C#
E
E
E
E
E
D#
C# / D
D# / E
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
11
12
13
<<------- SEMITONES
F# / G
F#
G
G
G
G
G
G
G
G
G
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
G
G
G
G
G
G
G
G
G
G
G
G
G
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
F
F
F
F#
F
F
F
F
F#
F#
F
F#
F
F
F
F#
F
F
F
F
F# / G
CHROMATIC
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
G# / A
A# / B
G#
G#
G#
G#
G#
G#
G#
G#
G#
/
/
/
/
/
/
/
/
/
A
A
A
A
A
A
A
A
A
G#
G#
G#
G#
G#
G#
G#
G#
G#
G#
G#
G#
G#
/
/
/
/
/
/
/
/
/
/
/
/
/
A
A
A
A
A
A
A
A
A
A
A
A
A
A#
A#
A
A
A#
A#
A#
A#
A
A#
A#
A#
A#
A
A
A#
A#
A
C
B
B
C
C
C
C
B
B
C
B
C
B
B
B
B
B
B
B
A#
C
C
C
B
A#
G# / A
A# / B
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
C# / D
D# / E
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D#
D
D
D
F
F
E
E
F
F
F
E
E
E
E
E
F
E
D#
D#
D
D
E
D#
D#
D#
F
F
F
F
F
C# / D
D# / E
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
<<------- SEMITONES
11
12
13
F# / G
G# / A
G#
G#
G#
G#
G#
G#
G#
G#
G#
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
/
/
/
/
/
/
/
/
/
A
A
A
A
A
A
A
A
A
G# /
G# /
G# /
G# /
G# /
G# /
A
G# /
G# /
G# /
G# /
G# /
G# /
A
A
A
A
A
A
A
A
A
A
A
A
G
G
F# / G
G# / A
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
CHROMATIC
A# / B
C# / D
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C#
C
C
C#
C#
C#
C#
C
C
C#
C
C#
C
C
C
C
C
C
C
C#
C#
C#
C#
C
B
C#
A# / B
C# / D
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
D# / E
F# / G
D
D
D
D
D#
D#
D
D
D
D
D
D
D
D
D
E
E
E
E
E
E
E
E
E
E
E
E
D#
E
E
F#
F#
F
F
F#
F#
F#
F
F
F
F
F
F#
F
E
E
E
D#
F
E
E
E
D#
F#
F#
F#
F#
F#
D# / E
F# / G
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
11
12
13
<<------- SEMITONES
G# / A
G#
A
A
A
A
A
A
A
A
A
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
A
A
A
A
A
A
A
A
A
A
A
A
A
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
G
G
G
G#
G
G
G
G
G#
G#
G
G#
G
G
G
G#
G
G
G
G
G# / A
CHROMATIC
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
A# / B
C# / D
A#
A#
A#
A#
A#
A#
A#
A#
A#
/
/
/
/
/
/
/
/
/
B
B
B
B
B
B
B
B
B
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
/
/
/
/
/
/
/
/
/
/
/
/
/
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
B
B
C
C
C
C
B
C
C
C
C
B
B
C
C
B
D
D
D
D
D
D
D
D
D
D
D
D
D
C#
D
D
D
D
C#
D
D
D
D
C
A# / B
C# / D
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
D# / E
F# / G
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
F
F
F
E
E
E
G
G
G
G
G
G
G
G
G
G
G
G
G
F#
F
F
E
E
G
F
F
F
G
G
G
G
G
F#
D# / E
F# / G
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
<<------- SEMITONES
11
12
13
G# / A
A# / B
A#
A#
A#
A#
A#
A#
A#
A#
A#
/
/
/
/
/
/
/
/
/
B
B
B
B
B
B
B
B
B
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
A#
/
/
/
/
/
/
/
/
/
/
/
/
/
B
B
B
B
B
B
B
B
B
B
B
B
B
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
G# / A
A# / B
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
CHROMATIC
C# / D
D# / E
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
C#
C#
C
C
C#
C#
C#
C#
C
C#
C#
C#
C#
C
C
C#
C#
C
D#
D
D
D#
D#
D#
D#
D
D
D#
D
D#
D
D
D
D
D
D
D
C#
D#
D#
D#
D#
D
C#
D#
C# / D
D# / E
#2 / 3
ROOT /
KEYNOTE
MINOR
SECOND
MAJOR
SECOND
10
F# / G
G# / A
E
E
E
E
F
F
E
E
E
E
E
E
E
E
E
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F#
F
F
F
G#
G#
G
G
G#
G#
G#
G
G
G
G
G
G#
G
F#
F#
F
F
G
F#
F#
F#
G#
G#
G#
G#
G#
F# / G
G# / A
#4 / 5
#5 / 6
PERFECT
FOURTH
AUGMENTED
FOURTH /
DIMINISHED
FIFTH
PERFECT
FIFTH
(SUBDOMINANT)
(DOMINANT)
AUGMENTED
SIXTH
11
12
13
<<------- SEMITONES
A# / B
A#
B
B
B
B
B
B
B
B
B
CHROMATIC
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
B
B
B
B
B
B
B
B
B
B
B
B
B
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
BLUES (HEXATONIC)
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
A
A
A
A#
A
A
A
A
A#
A#
A
A#
A
A
A
A#
A
A
A
A
A# / B
CHROMATIC
MINOR
SEVENTH
MAJOR
SEVENTH
OCTAVE
KEY
RELATIVE
PARALLEL MINOR
KEY
(= minor of
NATURALS, SHARPS & FLATS
the 6th)
Cm
Am
1
C
2
D
3
E
4
F
5
G
C#
C#m
A#m
C#
D#
E#
F#
G#
D
D
Dm
Dm
Bm
Bm
D
D
E
E
F
F#
G
G
A
A
D#
D#m
B#m
D#
E#
F##
G#
A#
E
E
Em
Em
Cm
C#m
E
E
F
F#
G
G#
A
A
B
B
Fm
Dm
F
F#
G
G
Fm
F#m
Gm
Gm
Dm
D#m
Em
Em
F
F#
G
G
G
G#
A
A
A
A#
B
B
B
B
C
C
C
C#
D
D
G#
G#m
E#m
G#
A#
B#
C#
D#
A
A
Am
Am
Fm
F#m
A
A
B
B
C
C#
D
D
E
E
A#
A#m
F##m
A#
B#
C##
D#
E#
B
B
Bm
Bm
Gm
G#m
B
B
C
C#
D
D#
E
E
F
F#
Cm
Am
C major is the simplest & one of the most common keys in weste
C#
C# major is most often ignored in favour of its enharmoic equivalent but it has s
D
D
D major is 'majestic', the most romantically flavoured of the ma

D major is 'the key of glory', 'triumphant' (overtures), appropriat
D#
theoretical key
E
E
Emajor is associated with bold, heroic music: grave, serious, bo

E major is 'the music of contemplation', it's decent for strings an
theoretical key
F
F#
G
G
F major has been used plenty but... any associations?

F# major can be exciting or transcendent, it is good for pianists
Gmajor ... any associations? Likewise more favoured for piano (
G major is 'the people's key', the most widely used across both c
G#
theoretical key
A
A
Amajor has been favoured for slow movements, flute music... an

A major is suitable for 'innocent love, youthful cheerfulness, trus
A#
theoretical key
B
B
Bmajor has been used but... any associations?

B major is often thought of as a remote key (far from C) and has
Cmajor is the home key of the harp and has been used surprisingly often consid
No. &
Type
& FLATS
6
A
7
B
A#
B#
B
B
C
C#
B#
C##
C
C#
D
D#
SUBDOMINANT
(= the 4th)
DOMINANT
(= the 5th)
& THEIR RELATIVES

(note how these are the
2nd & 3rd of the keynote)
SUB REL
KEY
DOM REL
zero
Dm
Em
Am
7 sharps
F#
G#
D#m
E#m
A#m
5 flats
2 sharps
G
G
A
A
Em
Em
Fm
F#m
Bm
Bm
5+4 sharps
G#
A#
E#m
F##m
B#m
3 flats
4 sharps
A
A
B
B
Fm
F#m
Gm
G#m
Cm
C#m
6+2 flats
Gm
Am
Dm
D
D#
E
E
E
F
F
F#
1 flat
C
C#
D
D
Gm
G#m
Am
Am
Am
A#m
Bm
Bm
Dm
1 sharp
B
B
C
C
E#
F##
6+2 sharps
C#
D#
A#m
B#m
E#m
F
F#
G
G#
4 flats
3 sharps
D
D
E
E
Bm
Bm
Cm
C#m
Fm
F#m
F##
G##
4+6 sharps
D#
E#
B#m
C##m
F##m
G
G#
A
A#
2 flats
5 sharps
E
E
F
F#
Cm
C#m
Dm
Dm
Gm
G#m
7 flats
Dm
Em
Am
5 sharps
6 flats
D#m
Em
Em
common keys in western music, the 'key of strength but also regret', 'festive', 'serious but deaf &
moic equivalent but it has seen some use
ly flavoured of the major keys, lots of piano music

overtures), appropriate for guitar music with drop-D
sic: grave, serious, bombastic, majestic or stately & religious

s decent for strings and good for guitar but wind instruments struggle with it
sociations?
it is good for pianists but rarely used in orchestral music
re favoured for piano (easy black keys) than for orchestral arrangements
ely used across both classical & pop music, easy to play on keyboard & strings
ments, flute music... any associations?

hful cheerfulness, trust in god' and is one of the easiest orchestral keys and fullest sounding on
y (far from C) and has few large scale works but is easy to play (black keys)
sed surprisingly often considering it's the enharmonic of a natural
RELATIVE
PARALLEL MAJOR
KEY
(= major of
NATURALS, SHARPS & FLATS
the 3rd)
1
A
A#
C#
A#
B#
C#
D#
E#
F#
B
B
D
D
B
B
C
C#
D
D
E
E
F
F#
G
G
B#
D#
B#
C##
D#
E#
F##
G#
C
C#
E
E
C
C#
D
D#
E
E
F
F#
G
G#
A
A
D#
F#
D#
F#
G#
A#
E
E
G
G
E
E
F
F#
G
G
A
A
B
B
C
C
E#
G#
E#
F##
G#
A#
B#
C#
F
F#
A
A
F
F#
G
G#
A
A
B
B
C
C#
D
D
F##
A#
F##
G##
A#
B#
C##
D#
G
G#
B
B
G
G#
A
A#
B
B
C
C#
D
D#
E
E
'serious but deaf & dull'
ullest sounding on strings
2
B
3
C
4
D
5
E
6
F
No. &
Type
7
G
G#
SUB& THEIR RELATIVES

DOMINANT
DOMINANT
(note how these are the
(= the 5th)
(= the 4th)
2nd & 3rd of the keynote)
SUB REL
DOM REL
zero
Dm
Em
7 sharps
D#m
E#m
B#
C#
Am is traditionally a 'sad' key

A#m is impractical to use
5 flats
Fm
F#m
C
C#
D
D
Bm is traditionally a 'dark' k
Bm has been used for 'quiet
A
A
2 sharps
Em
Em
A#
5+4 sharps
E#m
F##m
C##
D#
theoretical key
B
B
3 flats
4 sharps
Fm
F#m
Gm
G#m
D
D#
E
E
Cm has been associated with

C#m has been used plenty bu
6+2 flats
Gm
Am
Dm is a theoretical key but has seen a
1 flat
Gm
Am
Dm may be 'the saddest of a
C#
5 sharps
G#m
A#m
F#
D#m is not super well used compar
D
D
6 flats
1 sharp
Am
Am
Bm
Bm
F
F#
G
G
Em is dark & mysterious: of

Em is super common in class
D#
6+2 sharps
A#m
B#m
F##
G#
theoretical key
E
E
4 flats
3 sharps
Bm
Bm
Cm
C#m
G
G#
A
A
Fm is 'harrowing & melancho

F#m has very few symphonie
E#
4+6 sharps
B#m
C##m
G##
A#
theoretical key
F
F#
2 flats
5 sharps
Cm
C#m
Dm
D#m
A
A#
B
B
Gm is associated through Mo
G#m is relatively rarely used... a
7 flats
Dm
Em
Am has been used (albeit not supe
RED = naturals
GREEN = enharmonic sharps/flats of naturals
(same colour background pairs = enharmonic keys)
tionally a 'sad' key
ctical to use
ditionally a 'dark' key

en used for 'quiet acceptance of fate' or else described as a 'black key' not suitable for music in
en associated with heroic struggle since Beethoven's time

een used plenty but look for more examples of associations?
etical key but has seen a few uses
e 'the saddest of all keys', & is associated with counterpoint & chromaticism since Mozart
uper well used compared to its enharmonic equivalent
k & mysterious: often popular with jazz & blues players because of all black keys except F (easil
r common in classical guitar and is the relative minor of the most popular key in modern pop mu
owing & melancholy', 'deep depression, funereal lament, groans of misery and longing for the gr
ery few symphonies & few concerti... any other associations?
ciated through Mozart with sadness & tragedy

tively rarely used... any associations?
n used (albeit not super often) despite its obscurity & difficulty
itable for music in good taste
ince Mozart
eys except F (easily playable blues scale) -- ALSO POPULAR WITH YNGSTEEN WMAOMY!
y in modern pop music (Gmaj)
d longing for the grave', or 'halfway between complex and stable, between upright and lasciviou
WMAOMY!
pright and lascivious, between gray and highly tinted...there is a certain obliqueness'
queness'
MAJOR CHORDS
Major
Major Seventh
Major Ninth
Major Thirteenth
Sixth
Sixth/Ninth
Lydian
Major Seventh b6 or b13
CHORD TONES
1
1
1
1
1
1
1
1
3
3
3
3
3
3
3
3
5
5
5
5
5
5
5
5
DOMINANT / SEVENTH CHORDS
7
7
7
6
6
7
7
9
9
9
11
9
CHORD TONES
NORMAL
Dominant Seventh (Major/Minor 7)

Dominant Ninth
Dominant Thirteenth
Lydian Dominant Seventh
1
1
1
1
3
3
3
3
5
5
5
5
7
7
7
7
1
1
1
3
3
3
5
5
7
7
7
9
1
1
1
1
1
1
2
4
4
5
4
4
5
5
5
7
5
5
7
9
7
9
9
9
9
ALTERED
Dominant b9
Dominant #9
Altered Seventh
9
9
SUSPENDED
Suspended 2nd
Suspended 4th
Suspended 4th Seventh
Eleventh
Eleventh (Special Voicing)
Suspended 4th b9
MINOR CHORDS
11
9
CHORD TONES
NORMAL
Minor
Minor Seventh
Minor/Major Seventh
Minor/Major Seventh b13
Minor Sixth
Minor Ninth
Minor Eleventh
Minor Thirteenth
1
1
1
1
1
1
1
1
3
3
3
3
3
3
3
3
5
5
5
5
5
5
5
5
7
7
7
6
7
7
7
1
1
1
3
3
3
5
5
5
7
7
9
9
9
9
9
DIMINISHED
Diminished
Diminished Seventh
Half-Diminished
OTHER CHORDS
(9 or
CHORD TONES
NORMAL
Fifth*
Augmented
Augmented Seventh
1
1
1
5
3
3
5
5
ADDITION CHORDS
Added
Added
Added
Added
Second
Fourth
Sixth
Ninth*
CHORD TONES
1
1
1
1
2
3
3
3
3
4
5
5
ALTERATIONS* **
Major #11 (Lydian)

Dominant #9
Suspended b9 (Phrygian)
Dominant-Altered (Super-Locrian)
5
5
6
9
CHORD TONES
1
1
1
1
3
3
4
3
5
5
5
5
7
7
7
7
9
9
9
9
*red tones can be omitted without changing the chord
BASS NOTES are most commonly the root note but chords can be inverted (so, C-E-G is
When bass notes are not part of the original chord (e.g. a C bass note in Dm chord) th
POLYCHORDS are superimposed chords where two chords are combined and the result
SUSPENSIONS work well as naturally-major I, IV and V chords of a key. A suspended I c

SUS2 or ADD9, similar to sus4 chords, sus2s work well as variations of I, IV and V,
DOMINANT 7th chords work very well as a variation on the V chord, because the domin
also work well in the vi position & resolve handily to the IV chord
less often a replacement for the IV chord, because the dominant seventh of the chord ends up be
but this arrangement can provide some good opportunities for close harmony in a key change; fla
MAJOR II & III CHORDS. The major II chord is theory-based as the "V of V". In the key o
*chords are 'the basic elements of harmony' and monophonic instruments / solo huma
RD TONES
ABBREVIATIONS
major
(none)
maj7
ma7
add6
add13
6/9
69
maj4
11
maj76
ma76
M76
maj9
11
9
11
13
maj13
13
13
RD TONES
ABBREVIATIONS
7
dom
(*called 7th even tho contains minor 7)
13
11
13
(9
13
711
6)
74
79
79
(5
9)
alt7
sus2
(*any chord w/ major 3rd can have 3rd replaced by
sus4
maj2 or perf4 to make a suspected chord)
7sus4
11
11
sus
e.g. /C for C11
11
9sus
phryg
RD TONES
RD TONES
M7
ABBREVIATIONS
13
13
min
min7
mi7
m7
-7
m/maj7
m/ma7
mM7
m/M7
-7
m/maj7
m/ma7
mM7
m/M7
-7
m6
m9
11
13
m11
m13
11
13)
dim
dim7
m75
ABBREVIATIONS
(no 3rd)
aug
75
maj7+5
RD TONES
(*a.k.a power chord)
ABBREVIATIONS
add2
add4
add6
add9
(*do not confuse with dominant 9th chords which have 7 in them)
RD TONES
ABBREVIATIONS
11
maj711
11
79
9sus
11
13
7alt
alt
e inverted (so, C-E-G is normal C-chord but G-C-E is still a C-major chord)
s note in Dm chord) these are SLASH CHORDS written as (e.g.) Dm/C
ombined and the result played at the same time (this is too advanced for me atm)
a key. A suspended I chord, with the fourth and octave, will naturally want to resolve to the IV c
ions of I, IV and V,
ord, because the dominant seventh of that chord is the perfect fourth of the overall key, so the e
th of the chord ends up being a major second from the tonic

mony in a key change; flat the third to an Eb and now you have the vi7 of the key of Eb major, which will the
e "V of V". In the key of G, D is the V chord, then in the key of D, A is the V chord. Progressing I-I
nstruments / solo human voice also 'play chords' (just arpeggiated rather than simultaneous, bu
SCALE/MODE
Ionian
Ionian
Ionian
Ionian
Ionian
Ionian
Lydian
Harmonic major
SCALE/MODE
Myxolydian
Myxolydian
Myxolydian
Lydian dominant (melodic minor 4th mode)
Half-tone/tone (8-note scale), 1/2-step whole-step diminished scale, octatonic scale
Myxolydian with b3
Lociran b4 (Super-Locrian)
Usually Myxolydian
Usually Myxolydian
Usually Myxolydian
Usually Myxolydian
Myxolydian
Phrygian or Phrygian #6
SCALE/MODE
Dorian or Aeolian
Dorian or Aeolian
Melodic minor (ascending)
Harmonic minor
Dorian
Dorian or Aeolian
Dorian or Aeolian
Dorian
Tone/half-tone (8-note scale)
Tone/half-tone (8-note scale)
Locrian or Locrian#2
SCALE/MODE
None
Whole tone (6-note scale)
Whole tone (6-note scale)
NOTES
addition chords written as 'addX'
(*when a note is added to a chord in a manner that does not fit
any of the tables, it is referred to as an add chord: add chords
must have a major third (unlike sus chords))
NOTES
(*something such as b5 or #5 -- -5/+5 -- can be appended to the end of a chord to
indicate play chord as normal but sharpen or flatten the fifth)
(*extension notes can also be altered as in jazz, and the possible combinations are
b9, #9, #11 and b13, because the b11 and #13 correspond to the maj3 and min7)
resolve to the IV chord which also has these notes, while the suspended V chord, with the fifth,
verall key, so the entire chord will naturally resolve to the tonic.
major, which will then resolve to the Bb major chord, the IV of that key)
rd. Progressing I-IV-V-II, then using the II as the new tonic chord from then on, is an easy way to
simultaneous, but we still interpret the harmonic structure)
MAJOR CHORDS
Major
Major Seventh
Major Ninth
Major Thirteenth
Sixth
Sixth/Ninth
Lydian
Major Seventh b6 or b13
bright, strong sound: most commonly used chords

luscious sound, often used to add a flavour of rom
soft & delicate, often used in romantic songs & ba
bright & cheery, often used in jazz, swing, rock & r
DOMINANT / SEVENTH CHORDS

NORMAL
Dominant Seventh (Major/Minor 7)

Dominant Ninth
Dominant Thirteenth
Lydian Dominant Seventh
dominant seventh chords have a hard-edged blues

dominant ninth chords have a rich, bluesy sound:
ALTERED
Dominant b9
Dominant #9
Altered Seventh
SUSPENDED
sus chords sound ethereal but unfinished so are us
Suspended 2nd
Suspended 4th
Suspended 4th Seventh
Eleventh
Eleventh (Special Voicing)
Suspended 4th b9
MINOR CHORDS
NORMAL
Minor
Minor Seventh
Minor/Major Seventh (etc.)
Minor/Major Seventh b13
Minor Sixth
Minor Ninth
Minor Eleventh
Minor Thirteenth
mellow & mournful, when solely used = melancho
the NINTH version has a unique & enigmatic sound

whereas the SEVENTH version has a dissonant sou
minor sixth chords have a jarring edge to their me
minor ninth chords have a suave, mellow sound an
DIMINISHED
Diminished
Diminished Seventh
Half-Diminished
OTHER CHORDS
diminished chords have a uniquely dissonant soun
half-diminished chords sound unresolved & are rar
NORMAL
Fifth*
Augmented
Augmented Seventh
solid & strong, usually filled out with distortion... w

augmented chords are used to create a dramatic,
ADDITION CHORDS
Added
Added
Added
Added
Second
Fourth
Sixth
Ninth*
ALTERATIONS* **
jazzy & chromatic but the 7#9 is also the 'Hendrix
Major #11 (Lydian)

Dominant #9
Suspended b9 (Phrygian)
Dominant-Altered (Super-Locrian)
pended V chord, with the fifth, octave and second, will strongly resolve to the I chord.
rom then on, is an easy way to change keys. The major III chord is a definite rule-breaker becaus
mmonly used chords

dd a flavour of romance (for example) to ballads etc.
mantic songs & ballads
azz, swing, rock & roll, can be used to add lightness to chord progressions
a hard-edged bluesy sound & are used in blues, jazz, funk & rock'n'roll a lot
ich, bluesy sound: often used in blues, jazz & funk in place of dominant sevenths
unfinished so are usually followed by a major/minor chord to resolve the tension
y used = melancholic: can be useful contrast & balance to brightness of major chords
e & enigmatic sound but is rarely used except in jazz & film music
has a dissonant sound and is used as a passing chord to create chromatic links (very common in this role in s
ng edge to their mellow sound thanks to the major in them and they are often used in jazz ballads for examp
e, mellow sound and are often used in soul & funk music
uely dissonant sound are are usually employed to create a disturbing or unsettling effect: also heavily emplo
nresolved & are rarely played for long before resolving to a more standard chord but create tension in passin
with distortion... we all know about these because even a half-trained monkey can play 'em *^*
create a dramatic, strident effect within or more commonly at the end of chord progressions
is also the 'Hendrix chord'
e-breaker because it augments the fifth of the native key, and you generally try to avoid modify
mmon in this role in some famous songs)

azz ballads for example
ct: also heavily employed as passing chords in a progression
eate tension in passing
y 'em *^*
try to avoid modifying the root, fourth and fifth of a key in your progression. However, III-IV-V (fo
However, III-IV-V (for instance F-G-A) forms a powerful progression leading back to the I chord (D
ack to the I chord (D)
C MAJ
CHORD TONES
Cmaj7
Cmaj9
Cmaj13
C6
C6/9
Cmaj4
Cmaj76
C DOM / 7
CHORD TONES
NORMAL
C7/dom
C9
C13
C711
C79
(D
A)
C79
Calt7
(G
D)
Csus2
Csus4
C7sus4
C11
C11 (SV)
C9sus/phryg
A)
ALTERED
SUSPENDED
C MIN
B
F
CHORD TONES
NORMAL
Cm
Cm7
Cm/M7
Cm/M7 (13)
Cm6
Cm9
Cm11
Cm13
C/dim
C7
Cm75
(D or
DIMINISHED
CHORD TONES
(OTHER)
NORMAL
C5
C+/aug
C75
C ADD
CHORD TONES
Cadd2
Cadd4
Cadd6
Cadd9
C ALT
CHORD TONES
Cmaj711
C79
C9sus
C7alt
C /D MAJ
CHORD TONES
C/D
C/D
C/D maj7
C/D
C/D maj9
C/D
C/D maj13
C/D
C/D 6
C/D
C/D 6/9
C/D
C/D maj4
C/D
C/D maj76
C/D
C /D DOM / 7
CHORD TONES
NORMAL
C/D 7/dom
C/D
C/D 9
C/D
C/D 13
C/D
C/D 711
C/D
C/D 79
C/D
(E
B)
C/D 79
C/D
C/D alt7
C/D
(G
E)
C/D sus2
C/D
C/D sus4
C/D
C/D 7sus4
C/D
C/D 11
C/D
C/D 11 (SV)
C/D
C/D 9sus/phr
C/D
B)
ALTERED
SUSPENDED
C /D MIN
CHORD TONES
NORMAL
C/D m
C/D
C/D m7
C/D
C/D m/M7
C/D
C/D m/M7 (13 C/D
C/D m6
C/D
C/D m9
C/D
C/D m11
C/D
C/D m13
C/D
C/D /dim
C/D
C/D 7
C/D
C/D m75
C/D
(D or
DIMINISHED
C /D (OTHER)
CHORD TONES
NORMAL
C/D 5
C/D
C/D +/aug
C/D
C/D 75
C/D
C /D ADD
CHORD TONES
C/D add2
C/D
C/D add4
C/D
C/D add6
C/D
C/D add9
C/D
C /D ALT
CHORD TONES
C/D maj711
C/D
C/D 79
C/D
C/D 9sus
C/D
C/D 7alt
C/D
D MAJ
CHORD TONES
Dmaj7
Dmaj9
Dmaj13
D6
D6/9
Dmaj4
Dmaj76
D DOM / 7
CHORD TONES
NORMAL
D7/dom
D9
D13
D711
D79
(F
B)
D79
Dalt7
(A
F)
Dsus2
Dsus4
D7sus4
D11
D11 (SV)
D9sus/phryg
B)
ALTERED
SUSPENDED
D MIN
C
G
CHORD TONES
NORMAL
Dm
Dm7
Dm/M7
Dm/M7 (13)
Dm6
Dm9
Dm11
Dm13
D/dim
D7
Dm75
(E or
DIMINISHED
D (OTHER)
CHORD TONES
NORMAL
D5
D+/aug
D75
D ADD
CHORD TONES
Dadd2
Dadd4
Dadd6
Dadd9
D ALT
CHORD TONES
Dmaj711
D79
D9sus
D7alt
D /E MAJ
CHORD TONES
D/E
D/E
D/E maj7
D/E
D/E maj9
D/E
D/E maj13
D/E
D/E 6
D/E
D/E 6/9
D/E
D/E maj4
D/E
D/E maj76
D/E
D /E DOM / 7
CHORD TONES
NORMAL
D/E 7/dom
D/E
D/E 9
D/E
D/E 13
D/E
D/E 711
D/E
D/E 79
D/E
(F
C)
D/E 79
D/E
D/E alt7
D/E
(A
F)
D/E sus2
D/E
D/E sus4
D/E
D/E 7sus4
D/E
D/E 11
D/E
D/E 11 (SV)
D/E
D/E 9sus/phr
D/E
C)
ALTERED
SUSPENDED
D /E MIN
D
A
CHORD TONES
NORMAL
D/E m
D/E
D/E m7
D/E
D/E m/M7
D/E
D/E m/M7 (13 D/E
D/E m6
D/E
D/E m9
D/E
D/E m11
D/E
D/E m13
D/E
D/E /dim
D/E
D/E 7
D/E
D/E m75
D/E
(E or
DIMINISHED
D /E (OTHER)
CHORD TONES
NORMAL
D/E 5
D/E
D/E +/aug
D/E
D/E 75
D/E
D /E ADD
CHORD TONES
D/E add2
D/E
D/E add4
D/E
D/E add6
D/E
D/E add9
D/E
D /E ALT
CHORD TONES
D/E maj711
D/E
D/E 79
D/E
D/E 9sus
D/E
D/E 7alt
D/E
E MAJ
CHORD TONES
Emaj7
Emaj9
Emaj13
E6
E6/9
Emaj4
Emaj76
E DOM / 7
CHORD TONES
NORMAL
E7/dom
E9
E13
E711
E79
(G
C)
E79
Ealt7
(B
G)
Esus2
Esus4
E7sus4
E11
E11 (SV)
E9sus/phryg
C)
ALTERED
SUSPENDED
E MIN
CHORD TONES
NORMAL
Em
Em7
Em/M7
Em/M7 (13)
Em6
Em9
Em11
Em13
E/dim
E7
Em75
(F or
DIMINISHED
E (OTHER)
CHORD TONES
NORMAL
E5
E+/aug
E75
E ADD
CHORD TONES
Eadd2
Eadd4
Eadd6
Eadd9
E ALT
CHORD TONES
Emaj711
E79
E9sus
E7alt
F MAJ
CHORD TONES
Fmaj7
Fmaj9
Fmaj13
F6
F6/9
Fmaj4
Fmaj76
F DOM / 7
CHORD TONES
NORMAL
F7/dom
F9
F13
F711
F79
(G
D)
F79
Falt7
(B
G)
Fsus2
Fsus4
F7sus4
F11
F11 (SV)
F9sus/phryg
D)
ALTERED
SUSPENDED
F MIN
E
B
CHORD TONES
NORMAL
Fm
Fm7
Fm/M7
Fm/M7 (13)
Fm6
Fm9
Fm11
Fm13
F/dim
F7
Fm75
(G or
DIMINISHED
F (OTHER)
CHORD TONES
NORMAL
F5
F+/aug
F75
F ADD
CHORD TONES
Fadd2
Fadd4
Fadd6
Fadd9
F ALT
CHORD TONES
Fmaj711
F79
F9sus
F7alt
F /G MAJ
CHORD TONES
F/G
F/G
F/G maj7
F/G
F/G maj9
F/G
F/G maj13
F/G
F/G 6
F/G
F/G 6/9
F/G
F/G maj4
F/G
F/G maj76
F/G
F /G DOM / 7
CHORD TONES
NORMAL
F/G 7/dom
F/G
F/G 9
F/G
F/G 13
F/G
F/G 711
F/G
F/G 79
F/G
(A
D)
F/G 79
F/G
F/G alt7
F/G
(C
A)
F/G sus2
F/G
F/G sus4
F/G
F/G 7sus4
F/G
F/G 11
F/G
F/G 11 (SV)
F/G
F/G 9sus/phr
F/G
D)
ALTERED
SUSPENDED
F /G MIN
CHORD TONES
NORMAL
F/G m
F/G
F/G m7
F/G
F/G m/M7
F/G
F/G m/M7 (13 F/G
F/G m6
F/G
F/G m9
F/G
F/G m11
F/G
F/G m13
F/G
F/G /dim
F/G
F/G 7
F/G
F/G m75
F/G
(G or
DIMINISHED
F /G (OTHER)
CHORD TONES
NORMAL
F/G 5
F/G
F/G +/aug
F/G
F/G 75
F/G
F /G ADD
CHORD TONES
F/G add2
F/G
F/G add4
F/G
F/G add6
F/G
F/G add9
F/G
F /G ALT
CHORD TONES
F/G maj711
F/G
F/G 79
F/G
F/G 9sus
F/G
F/G 7alt
F/G
G MAJ
CHORD TONES
Gmaj7
Gmaj9
Gmaj13
G6
G6/9
Gmaj4
Gmaj76
G DOM / 7
CHORD TONES
NORMAL
G7/dom
G9
G13
G711
G79
(A
E)
G79
Galt7
(D
A)
Gsus2
Gsus4
G7sus4
G11
G11 (SV)
G9sus/phryg
E)
ALTERED
SUSPENDED
G MIN
CHORD TONES
NORMAL
Gm
Gm7
Gm/M7
Gm/M7 (13)
Gm6
Gm9
Gm11
Gm13
G/dim
G7
Gm75
(A or
DIMINISHED
G (OTHER)
CHORD TONES
NORMAL
G5
G+/aug
G75
G ADD
CHORD TONES
Gadd2
Gadd4
Gadd6
Gadd9
G ALT
CHORD TONES
Gmaj711
G79
G9sus
G7alt
G /A MAJ
CHORD TONES
G/A
G/A
G/A maj7
G/A
G/A maj9
G/A
G/A maj13
G/A
G/A 6
G/A
G/A 6/9
G/A
G/A maj4
G/A
G/A maj76
G/A
G /A DOM / 7
CHORD TONES
NORMAL
G/A 7/dom
G/A
G/A 9
G/A
G/A 13
G/A
G/A 711
G/A
G/A 79
G/A
(B
F)
G/A 79
G/A
G/A alt7
G/A
(D
B)
G/A sus2
G/A
G/A sus4
G/A
G/A 7sus4
G/A
G/A 11
G/A
G/A 11 (SV)
G/A
G/A 9sus/phr
G/A
F)
ALTERED
SUSPENDED
G /A MIN
G
D
CHORD TONES
NORMAL
G/A m
G/A
G/A m7
G/A
G/A m/M7
G/A
G/A m/M7 (13 G/A
G/A m6
G/A
G/A m9
G/A
G/A m11
G/A
G/A m13
G/A
G/A /dim
G/A
G/A 7
G/A
G/A m75
G/A
(A or
DIMINISHED
G /A (OTHER)
CHORD TONES
NORMAL
G/A 5
G/A
G/A +/aug
G/A
G/A 75
G/A
G /A ADD
CHORD TONES
G/A add2
G/A
G/A add4
G/A
G/A add6
G/A
G/A add9
G/A
G /A ALT
CHORD TONES
G/A maj711
G/A
G/A 79
G/A
G/A 9sus
G/A
G/A 7alt
G/A
A MAJ
CHORD TONES
Amaj7
Amaj9
Amaj13
A6
A6/9
Amaj4
Amaj76
A DOM / 7
CHORD TONES
NORMAL
A7/dom
A9
A13
A711
A79
(C
F)
A79
Aalt7
(E
C)
Asus2
Asus4
A7sus4
A11
A11 (SV)
A9sus/phryg
F)
ALTERED
SUSPENDED
A MIN
G
D
CHORD TONES
NORMAL
Am
Am7
Am/M7
Am/M7 (13)
Am6
Am9
Am11
Am13
A/dim
A7
Am75
(B or
DIMINISHED
A (OTHER)
CHORD TONES
NORMAL
A5
A+/aug
A75
A ADD
CHORD TONES
Aadd2
Aadd4
Aadd6
Aadd9
A ALT
CHORD TONES
Amaj711
A79
A9sus
A7alt
A /B MAJ
CHORD TONES
A/B
A/B
A/B maj7
A/B
A/B maj9
A/B
A/B maj13
A/B
A/B 6
A/B
A/B 6/9
A/B
A/B maj4
A/B
A/B maj76
A/B
A /B DOM / 7
CHORD TONES
NORMAL
A/B 7/dom
A/B
A/B 9
A/B
A/B 13
A/B
A/B 711
A/B
A/B 79
A/B
(C
G)
A/B 79
A/B
A/B alt7
A/B
(E
C)
A/B sus2
A/B
A/B sus4
A/B
A/B 7sus4
A/B
A/B 11
A/B
A/B 11 (SV)
A/B
A/B 9sus/phr
A/B
G)
ALTERED
SUSPENDED
A /B MIN
A
E
CHORD TONES
NORMAL
A/B m
A/B
A/B m7
A/B
A/B m/M7
A/B
A/B m/M7 (13 A/B
A/B m6
A/B
A/B m9
A/B
A/B m11
A/B
A/B m13
A/B
A/B /dim
A/B
A/B 7
A/B
A/B m75
A/B
(B or
DIMINISHED
A /B (OTHER)
CHORD TONES
NORMAL
A/B 5
A/B
A/B +/aug
A/B
A/B 75
A/B
A /B ADD
CHORD TONES
A/B add2
A/B
A/B add4
A/B
A/B add6
A/B
A/B add9
A/B
A /B ALT
CHORD TONES
A/B maj711
A/B
A/B 79
A/B
A/B 9sus
A/B
A/B 7alt
A/B
B MAJ
CHORD TONES
Bmaj7
Bmaj9
Bmaj13
B6
B6/9
Bmaj4
Bmaj76
B DOM / 7
CHORD TONES
NORMAL
B7/dom
B9
B13
B711
B79
(D
G)
B79
Balt7
(F
D)
Bsus2
Bsus4
B7sus4
B11
B11 (SV)
B9sus/phryg
G)
ALTERED
SUSPENDED
B MIN
CHORD TONES
NORMAL
Bm
Bm7
Bm/M7
Bm/M7 (13)
Bm6
Bm9
Bm11
Bm13
B/dim
B7
Bm75
(C or
DIMINISHED
B (OTHER)
CHORD TONES
NORMAL
B5
B+/aug
B75
B ADD
CHORD TONES
Badd2
Badd4
Badd6
Badd9
B ALT
CHORD TONES
Bmaj711
B79
B9sus
B7alt
SCALES & CHORDS*

TONIC
(KEYNOTE)
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
SUPERTONIC
MEDIANT
ii
iii
IV
ii
III
IV
II
III
iv
II
iii
iv
II
iii
ivo
II
iiio
ivo
ii
iii
IV
iio
III
iv
II
iii
iv
ii
iii
iv
IIo
III+
iv
ii
iii
iv
ii
III+
IV
ii
iii
IV
BLUES (HEXATONIC)
*also in minor w/ altered chords ending
I7
(ii)
(*nonatonic = maj w/ b3 & b7 added)
(ii)
(*also uses blues chords)
WHOLE/HALF (FULL DIMINISHED)
(*maj, min, dim or b5 all work)
III
HALF/WHOLE
III
(DIM. DOMINANT)
SUBDOMINANT
IV7
3
4
IV7
3
IV
4
o
*
3
PENTATONIC MAJOR
PENTATONIC MINOR
ii
iii
III
iv
I+
II+
III+
I+
III+
III+
II
iii
iv
DOUBLE HARMONIC MINOR
("Hungarian Minor Scale")
II(5)
III+
VI7
ENIGMATIC
I+
ii
III
IV
NEAPOLITAN MAJOR
(Neap. Melodic Minor)

NEAPOLITAN MINOR
II+
III+
IV
3**
(Neap. Harmonic Minor = b7)
II
III+
iv
IN SEN
HIRAJOSHI
WHOLE TONE
AUGMENTED
DOUBLE HARMONIC MAJOR
DS*
DOMINANT
SUBMEDIANT
LEADING TONE
(SUBTONIC)
EXTRA
8
*upper case (e.g. VII) = major ch
vi
viio
vi
VII
Only minor-type mode that has a major sixth, giv
Strong 'spanish or ethnic' (lol) feel because of th
vo
VI
vii
The b2 and b6 (#5) are strong flavours and mus
Spanish gypsy scale', common in flamenco musi
VI
vii
Common in Indian,Middle Eastern, Eastern Euro
Has an augmented fourth separating it from the
vi
vii
Extensively used by Vai, Satriani, etc., & sounds
Dominant because it has the flat seventh.
vi
VII
Dominant version of the major scale (dat flat 7th
vii
VII
The fourth can sound funky in the right place bu
Pure minor, relative of the parent major. Dat b6
VI
VII
But resting on the b6 can be a problem, so be ca
Least used & most misunderstood. Strange & un
VI
vii
You can make it sound cool/weird/good (see links
Less melodically smooth than diatonic scales bu
VI+
viio
Often substituted for major scale as can strength
Classical & Yngsteen (neoclassical) etc.. Harmon
VI
viio
Tonality is very powerful and unambiguous (muc
Strange, wonderful & underused! Unstable tonic
VI+
VII
The leading tone is the b6 rather than the 7 here
Most frequently a temporary solution for harmon
vio
viio
Rarely used in isolation because tonic is not so e
Altered harmony is used to add more tension in
VI
vii
VI7
V7
VI
Watch out for that perfect fourth, and if you're g

Think 'Scarborough Fair' & 'Drunken Sailor', and
Often used in jazz.
The 'blue note' is usually a diminished fifth but c
Sounds solid but plaintive with the minor-type sc
Every chord within the BLUES form can be playe
This is not considered a true blues scale by a lot
When playing blues/country, the chords & melod
vi
NOT SURE ABOUT the progression either: can be
VI
Vo
You can play the consonant, relative, parallel cho
The whole-half sounds really good over regular d
The half-whole sounds really good over dominan
VIo
(dominant chords are big in jazz & these, the mix
vi
VII
Repeating pattern of intervals makes this unique
5+
6+
7+
NOT SURE about these chords but it seems to m
V+
V+
VII+
V(5)
VI+
II7
VI
vii
"entirely unnatural" / "almost, if not quite, as m
V+
VI
VIIsus2
See the link for suggestions on chords to use wit
(5)
VII+
5**
V(5)
VI
5
5
Need to look at this more later, cba now.

Normally found as temp. alteration of maj scale
Perhaps the strangest & most obscure of all, wea

Unique cadence of bVI7-vii-i (!!!)
7
VII
(5)
7*
*there is also a version of this with a FLAT SEVEN
VII(5)
7
Used a lot in improv (jazz solos etc.)
This is the tuning for wind chimes, lol.
This is the basis for many traditional Japanese tu
ase (e.g. VII) = major chords
lower case (e.g. vii) = minor
(see note in Blues secton about dominant seventh
rfect fourth, and if you're going through it, make sure you're passing & not stopping!!!
air' & 'Drunken Sailor', and the vocal melody from Green Day's 'Wake Me Up When September Ends' is a Dorian melody
e that has a major sixth, gives it almost a major flavour (good for blues), the b7 makes it work for min7 type chords: mo
nic' (lol) feel because of the b2 scale tone: less commonly used except in some jazz theory concepts
re strong flavours and must be approached with caution: b2 only found in this and Locrian: you have to use them spari
common in flamenco music, some versions of Hava Nagila use it, etc.
ddle Eastern, Eastern European, East Asian and Flamenco music. It is esp. common in Arabic andEgyptian music partic
urth separating it from the major scale. Is a very cool sound. Unlike the perfect 4th in major scale which sounds wrong
ai, Satriani, etc., & sounds great. Beautiful & emotive.
has the flat seventh.
he major scale (dat flat 7th yo). Perfect scale for 7th chords! Used a lot in jazz, funk & blues. THIS SCALE IS ALL ABOUT
funky in the right place but as with major scale it can sound off if you're not careful.
f the parent major. Dat b6 gives it that quasi-phrygian Spanish-type flavour (e.g. Santana, etc.).
can be a problem, so be careful.
sunderstood. Strange & unfinished. We want that resolution, Western harmony has taught us to expect it. Locrian doe
d cool/weird/good (see links) but you need to know what you're doing.
oth than diatonic scales but very effective tonally with the tonic on I being decisive & unambiguous. Not used much in
major scale as can strengthen the tonanity. From this scale the two most common chromatic chords in maj scale are de
(neoclassical) etc.. Harmonic foundation of minor music, not used in common practice for melody because of 'unmelod
ful and unambiguous (much more so than aeolian & even more so than the weak melodic minor). Fundamental to main
underused! Unstable tonic function. Evokes Eastern European folk melodies with its yearning flattened sixth and its m
e b6 rather than the 7 here, found in the subdominant (iv), so v-iv-I or I-iv-v are lovely progressions, though the I straigh
mporary solution for harmonic minor to smooth melodic line from 6-7 without disturbing the tonic function on i.
n because tonic is not so effective.
ed to add more tension in a functioning V chord, which makes the resolution to the I chord even stronger. Altered harmo
ally a diminished fifth but can be a diminished third or seventh. They are played slightly lower than in classical (so 'in-b
tive with the minor-type scale over the major chords. NO DIATONIC CHORDS, basic progression is all sevenths as shown
e BLUES form can be played as a dominant seventh chord (contrasting typical diatonic music where only the V chord is
a true blues scale by a lot of people. Remember that in blues the chords and scale operate largely independently.
ountry, the chords & melody are kinda separate anyway & you can add in chromatic/passing licks and also other 'non-ca
progression either: can be same as blues progressions (I-IV-V) but can also use the I-vi-IV-V and also try to incorp those
onant, relative, parallel chords of each tone plus any diminished chord corresponding to one of the tones of the diminish
s really good over regular diminished chords.
s really good over dominant chords. It adds brightness and generates a whole bunch of options compared to the altered
big in jazz & these, the mixo, altered & whole tone are good): playing MAJOR TRIADS over a diminished chord gives yo
ntervals makes this unique. No leading tone because all tones same distance apart.
e chords but it seems to make sense idk.
azz solos etc.)
more later, cba now.
mp. alteration of maj scale but can support strong tonic function on I triad, difficult for common practice but offers extra
& most obscure of all, weak tonic function on I triad makes hard to maintain without careful compositional aforethough
I7-vii-i (!!!)
"almost, if not quite, as musical as it is curious" :^)
stions on chords to use with this & ways to make it work 'in the wild', this is my harmonisation for it.
n of this with a FLAT SEVENTH >> **the majb5 does not work with it however (this is so complex D:) so the 5th would b
wind chimes, lol.
any traditional Japanese tunes.
n about dominant sevenths only being the V chord in most diatonic music but being common throughout blues progressions)
nds' is a Dorian melody -- most commonly used for jazz & blues improvisation -- integrates well with pentatonic minor
r min7 type chords: most commonly used minor in much popular music
have to use them sparingly coz no resting points aside from the chord tones, they must be used just a little or they wil
dEgyptian music particularly.
ale which sounds wrong, the dissonant #4 in lydian sounds interesting.
HIS SCALE IS ALL ABOUT THE DOMINANT SEVENTH CHORDS.
o expect it. Locrian does not give it easily.
ous. Not used much in common practice but outside of it the augs & dims are not a big problem.
ords in maj scale are derived: minor subdominant iv & diminished ii o.
dy because of 'unmelodic' aug 2nd between 6th & 7th. Lower/raise one by a semitone to make the gap a major 2nd tho
). Fundamental to maintaining tonality.
flattened sixth and its mellow and relaxed flattened seventh.
ons, though the I straight to v or vice versa can displace the tonicity.
function on i.
stronger. Altered harmony introduces a b9, #9, b5 and #5.
han in classical (so 'in-between notes', like quarter-steps).
is all sevenths as shown, then improvise/add as you feel. In minor, altered chords can end progression and lead in.
ere only the V chord is a dominant seventh chord)
gely independently.
ks and also other 'non-canon' chords freely since it is about expression but what's here is the basis.
also try to incorp those dominant 9ths, 7#9s, minor 7s & 9s, etc.
he tones of the diminished scales.
compared to the altered scale.
minished chord gives you a very exotic sound
practice but offers extravagant harmonic progressions outside of this
mpositional aforethought but despite its melodic deficiencies it is very intriguing
x D:) so the 5th would become a full diminished, and the 3rd becomes a major rather than augmented, unlike what's no
lues progressions)
with pentatonic minor
d just a little or they will sound like ass
he gap a major 2nd tho which sounds better.
ression and lead in.
mented, unlike what's noted here
C SCALES & CHORDS

tonic
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
suptonic
med
subdom
dom
submed
lead
tone
Dm
Em
Am
Bo
Cm
Dm
Gm
Cm
Fm
Go
Bm
Fm
Bm
Em
Fo
Am
Bm
Gm
Am
Dm
Eo
Gm
Am
Cm
Do
Fm
Gm
Em
Fm
Bm
Do
Em
Fm
A+
Bo
Cm
E+
Fm
Bo
Do
Eo
Fm
Gm
A+
Cm
Dm
E+
Ao
Bo
Dm
Em
Bo
BLUES (HEXATONIC)
*also in minor w/ altered chord
C7
(Dm)
(*nonatonic = maj w/ b3 & b7 a
(Dm)
WHOLE/HALF (FULL DIM.)
HALF/WHOLE (DIM. DOM.)
F7
E
G7
G
F
E
A
G
Am
Ao
Co
Eo
Go
Ao
C
C
C
C
C
C
C
C
C
C
C
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
Dm
Em
Am
Cm
Fm
Gm
C+
D+
E+
G+
A+
B+
C+
E+
E+
G+
G+
B+
Em
Fm
A+
D7
(5)
Cm
D(5)
E+
A7
Bm
C+
Dm
G+
Bsus2
Cm
D+
E+
Cm
E+
Fm
IN SEN
HIRAJOSHI
ENIGMATIC
NEAPOLITAN MAJOR
NEAPOLITAN MINOR
(Neap. Harmonic Minor)
(5)
G
G
(5)
A+
B
B
(5)
(5)
A
A
B*
B
A
C/D SCALES & CHORDS

EXTRA
8
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
B
*
B
*
suptonic
tonic
C/D
C/D
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
subdom
dom
C/D
C/D
Dm
Fm
C/D
C/D m
Dm
Gm
C/D
C/D m
Fm
Go
C/D
C/D
Fm
Go
C/D
C/D
Fm
Go
C/D
C/D
Gm
C/D
C/D
Dm
Fo
Gm
C/D
C/D m
Do
Fm
Gm
C/D
Em
Fm
C/D
C/D
Do
Fm
Fm
C/D
C/D m
E+
Fm
C/D
C/D
Do
Fo
Fm
Gm
C/D
C/D m
Dm
E+
C/D
Dm
Em
C/D
HARMONIC MAJOR
med
C/D
BLUES (HEXATONIC)
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
(Dm)
D
F7
E
(Dm)
D
F
F
Go
Eo
Go
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
C/D
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
C/D
C/D
Dm
Fm
C/D
C/D m
Fm
Gm
C/D
C/D +
D+
F+
G+
C/D
C/D +
E+
F+
G+
C/D
C/D
Fm
Fm
G(5)
C/D
C/D m
D(5)
E+
A7
ENIGMATIC
C/D
NEAPOLITAN MAJOR
C/D
C/D m
D+
E+
G(5)
C/D
C/D m
E+
Fm
G(5)
IN SEN
C/D
HIRAJOSHI
C/D

NEAPOLITAN MINOR
D SCALES & CHORDS

submed
lead
tone
EXTRA
8
Am
Co
D
D
Bm
Bm
Am
Cm
Am
Am
Bm
A+
Co
A+
Ao
Co
Bo
D
D
D
D
D
D
D
D
D
D
D
D
D
G7
A
G
tonic
Am
A
Ao
D
D
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
suptonic
med
Em
Fm
Dm
Em
Dm
Fo
Fm
Fo
Em
Fo
Dm
Eo
Fm
Eo
Fm
Dm
F+
Eo
Fo
Dm
Em
F+
Dm
Fm
BLUES (HEXATONIC)
D7
(Em)
(Em)
Fo
Do
Fo
Am
B
B
A
A+
B+
A+
C+
A+
Cm
A
A+
C
C
A
A
(5)
C*
C
(5)
B
A
D
D
D
D
D
D
D
D
D
D
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
Em
Fm
Dm
D+
E+
F+
D+
F+
F+
Fm
Dm
E(5)
F+
ENIGMATIC
NEAPOLITAN MAJOR
Dm
D+
F+
Dm
F+
IN SEN
HIRAJOSHI

NEAPOLITAN MINOR
CHORDS
D/E SCALES & CHOR
subdom
dom
submed
lead
tone
EXTRA
8
Bm
Co
Am
Gm
Ao
Cm
Gm
Cm
Go
Bm
Cm
Am
Bm
Am
Bm
Gm
Am
Gm
Cm
Gm
A+
Co
Gm
Gm
Am
A+
Bo
Co
G7
G
G
B
A
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
Bm
Go
Bo
D/E
A7
tonic
D/E
D/E
D/E
IONIAN (MAJOR)
D/E
D/E
DORIAN
D/E
D/E m
PHRYGIAN
D/E
D/E m
PHRYGIAN MAJOR
D/E
D/E
LYDIAN
D/E
D/E
LYDIAN DOMINANT
D/E
D/E
MIXOLYDIAN
D/E
D/E
D/E
D/E m
LOCRIAN
D/E
D/E
HARMONIC MAJOR
D/E
D/E
HARMONIC MINOR
D/E
D/E m
MELODIC MAJOR
D/E
D/E
MELODIC MINOR
D/E
D/E m
D/E
D/E
BLUES (HEXATONIC)
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
Bm
D/E
Gm
Am
G
Gm
D/E
G+
B+
C+
A+
A+
C+
A+
(5)
A7
Cm
G
G
Gm
(5)
A
A
(5)
B+
A
A
C
C
(5)
C*
C
(5)
C
A
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
D/E
PENTATONIC MAJOR
D/E
D/E
PENTATONIC MINOR
D/E
D/E m
WHOLE TONE
D/E
D/E +
AUGMENTED
D/E
D/E +
D/E
D/E
D/E
D/E m
ENIGMATIC
D/E
NEAPOLITAN MAJOR
D/E

NEAPOLITAN MINOR
D/E m
D/E
D/E m
IN SEN
D/E
HIRAJOSHI
D/E
SCALES & CHORDS

suptonic
med
E SCALES &
subdom
dom
submed
lead
tone
EXTRA
8
Fm
Gm
Cm
Do
Fm
Am
Gm
Ao
Cm
Gm
Ao
Cm
Gm
Ao
Cm
Dm
Am
Cm
Fm
Go
Am
Cm
Fo
Gm
Am
Fm
Gm
Cm
Fo
Gm
Gm
B+
Do
F+
Gm
Do
Fo
Go
Gm
Am
B+
Fm
F+
Co
Do
Em
Fm
Co
(Fm)
F
G7
F
(Fm)
F
G
G
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
A7
A
C
A
Cm
Fo
Ao
Co
E
E
Fm
Gm
Cm
Gm
Am
F+
G+
A+
C+
C+
F+
G+
A+
B+
D+
Gm
Gm
B+
E7
(5)
F(5)
F+
B7
Dm
E+
F+
F+
Gm
(5)
A
A
(5)
C+
D
D
(5)
(5)
B
B
D*
C
B
E
E
E
E
E
E
E
E
E
E
E SCALES & CHORDS

tonic
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
med
subdom
dom
submed
lead
tone
EXTRA
8
Fm
Gm
Cm
Do
Em
Fm
Bm
Em
Am
Bo
Dm
Am
Dm
Gm
Ao
Cm
Dm
Bm
Cm
Fm
Go
Bm
Cm
Em
Fo
Am
Bm
Gm
Am
Dm
Fo
Gm
Am
C+
Do
Em
G+
Am
Do
Fo
Go
Am
Bm
C+
Em
Fm
G+
Co
Do
Fm
Gm
Do
HARMONIC MAJOR
suptonic
BLUES (HEXATONIC)
E7
(Fm)
(Fm)
A7
G
A
A
B7
A
C
B
Cm
Eo
Go
Ao
Co
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
Fm
Gm
Cm
Em
Am
Bm
E+
F+
G+
A+
C+
D+
E+
G+
G+
B+
C+
D+
Gm
Am
C+
F7
(5)
Em
F(5)
G+
C7
Dm
ENIGMATIC
NEAPOLITAN MAJOR
Em
F+
G+
Em
G+
Am
IN SEN
HIRAJOSHI

NEAPOLITAN MINOR
(5)
B
B
(5)
C+
C
C
D(5)
D*
D(5)
D
F SCALES & CHORDS

tonic
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
med
subdom
dom
submed
lead
tone
Gm
Am
Dm
Eo
Fm
Gm
Cm
Fm
Am
Co
Dm
Am
Dm
Am
Bo
Dm
Em
Cm
Dm
Gm
Ao
Cm
Dm
Fm
Go
Am
Cm
Gm
Am
Dm
Go
Am
Am
C+
Eo
Fm
G+
Am
Eo
Go
Ao
Am
Cm
C+
Fm
Gm
G+
Do
Eo
Fm
Gm
Do
HARMONIC MAJOR
suptonic
BLUES (HEXATONIC)
F7
(Gm)
(Gm)
A7
G
A
A
D
C
Dm
Do
Fo
Go
Bo
Do
C7
F
F
F
F
F
F
F
F
F
F
F
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
Gm
Am
Dm
Fm
Am
Cm
F+
G+
A+
B+
D+
D+
F+
G+
A+
C+
C+
E+
Am
Am
C+
F7
(5)
Fm
G(5)
G+
C7
Em
ENIGMATIC
NEAPOLITAN MAJOR
Fm
F+
G+
Fm
G+
Am
IN SEN
HIRAJOSHI

NEAPOLITAN MINOR
(5)
C
C
(5)
D+
E
E
(5)
C
C
E*
E
(5)
D
C
F/G SCALES & CHORDS

EXTRA
8
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
E
*
D
*
suptonic
tonic
F/G
F/G
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
subdom
dom
F/G
F/G
Gm
Am
F/G
F/G m
Gm
Cm
F/G
F/G m
Bm
Co
F/G
F/G
Bm
Co
F/G
F/G
Am
Co
F/G
F/G
Cm
F/G
F/G
Gm
Ao
Cm
F/G
F/G m
Go
Bm
Cm
F/G
Am
Bm
F/G
F/G
Go
Am
Bm
F/G
F/G m
A+
Bm
F/G
F/G
Go
Ao
Bm
Cm
F/G
F/G m
Gm
A+
F/G
Gm
Am
F/G
HARMONIC MAJOR
med
F/G
BLUES (HEXATONIC)
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
B7
A
(Gm)
G
(Gm)
G
B
B
Co
Ao
Co
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
F/G
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
F/G
F/G
Gm
Am
F/G
F/G m
Bm
Cm
F/G
F/G +
G+
A+
C+
F/G
F/G +
A+
A+
C+
F/G
F/G
Am
Bm
C(5)
F/G
F/G m
G(5)
A+
D7
ENIGMATIC
F/G
NEAPOLITAN MAJOR
F/G
F/G m
G+
A+
C(5)
F/G
F/G m
A+
Bm
C(5)
IN SEN
F/G
HIRAJOSHI
F/G

NEAPOLITAN MINOR
G SCALES & CHORDS

submed
lead
tone
EXTRA
8
Dm
Fo
G
G
Em
Em
Dm
Fm
Dm
Dm
Em
D+
Fo
D+
Do
Fo
G
G
G
G
G
G
G
G
G
G
G
G
C7
D
C
tonic
Dm
D
Do
G
G
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
suptonic
med
Am
Bm
Gm
Am
Gm
Bo
Bm
Bo
Am
Bo
Gm
Ao
Am
Ao
Bm
Gm
A+
Ao
Bo
Gm
Am
A+
Gm
Am
BLUES (HEXATONIC)
G7
(Am)
(Am)
Ao
Go
Ao
Dm
E
E
D
D+
E+
D+
F+
D+
Fm
D
D+
F
F
(5)
D
D
F*
F
(5)
E
D
G
G
G
G
G
G
G
G
G
G
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
Am
Bm
Gm
G+
A+
B+
G+
A+
B+
Bm
Gm
A(5)
A+
ENIGMATIC
NEAPOLITAN MAJOR
Gm
G+
A+
Gm
A+
IN SEN
HIRAJOSHI

NEAPOLITAN MINOR
CHORDS
G/A SCALES & CHOR
subdom
dom
submed
lead
tone
EXTRA
8
Em
Fo
Dm
Cm
Do
Fm
Cm
Fm
Co
Em
Fm
Dm
Em
Dm
Em
Cm
Dm
Cm
Fm
Cm
D+
Fo
Cm
Cm
Dm
D+
Eo
Fo
C7
C
C
E
D
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
Em
Co
Eo
G/A
D7
tonic
G/A
G/A
G/A
IONIAN (MAJOR)
G/A
G/A
DORIAN
G/A
G/A m
PHRYGIAN
G/A
G/A m
PHRYGIAN MAJOR
G/A
G/A
LYDIAN
G/A
G/A
LYDIAN DOMINANT
G/A
G/A
MIXOLYDIAN
G/A
G/A
G/A
G/A m
LOCRIAN
G/A
G/A
HARMONIC MAJOR
G/A
G/A
HARMONIC MINOR
G/A
G/A m
MELODIC MAJOR
G/A
G/A
MELODIC MINOR
G/A
G/A m
G/A
G/A
BLUES (HEXATONIC)
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
Em
G/A
Cm
Dm
C
Cm
G/A
C+
E+
F+
D+
D+
F+
D+
(5)
D7
Fm
C
C
Cm
(5)
D
D
(5)
E+
F
F
D
D
(5)
F*
F
(5)
F
D
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
G/A
PENTATONIC MAJOR
G/A
G/A
PENTATONIC MINOR
G/A
G/A m
WHOLE TONE
G/A
G/A +
AUGMENTED
G/A
G/A +
G/A
G/A
G/A
G/A m
ENIGMATIC
G/A
NEAPOLITAN MAJOR
G/A

NEAPOLITAN MINOR
G/A m
G/A
G/A m
IN SEN
G/A
HIRAJOSHI
G/A
SCALES & CHORDS

suptonic
med
A SCALES &
subdom
dom
submed
lead
tone
EXTRA
8
Am
Cm
Fm
Go
Am
Dm
Cm
Do
Fm
Cm
Fm
Cm
Do
Fm
Gm
Dm
Fm
Am
Co
Dm
Fm
Ao
Cm
Dm
Bm
Cm
Fm
Ao
Cm
Cm
E+
Go
B+
Cm
Go
Ao
Co
Cm
Dm
E+
Am
B+
Fo
Go
Am
Bm
Fo
(Am)
A
C7
B
(Am)
A
C
C
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
D7
D
F
D
Fm
Bo
Do
Fo
A
A
Am
Cm
Fm
Cm
Dm
A+
C+
D+
F+
F+
B+
C+
D+
E+
G+
Cm
Cm
E+
A7
(5)
A(5)
B+
E7
Gm
A+
B+
B+
Cm
(5)
D
D
(5)
F+
G
G
(5)
(5)
E
E
G*
F
E
A
A
A
A
A
A
A
A
A
A
A SCALES & CHORDS

tonic
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
suptonic
med
subdom
dom
submed
lead
tone
EXTRA
8
Bm
Cm
Fm
Go
Am
Bm
Em
Am
Dm
Eo
Gm
Dm
Gm
Cm
Do
Fm
Gm
Em
Fm
Bm
Co
Em
Fm
Am
Bo
Dm
Em
Cm
Dm
Gm
Bo
Cm
Dm
F+
Go
Am
C+
Dm
Go
Bo
Co
Dm
Em
F+
Am
Bm
C+
Fo
Go
Am
Cm
Go
BLUES (HEXATONIC)
A7
(Bm)
(Bm)
D7
C
D
D
E7
D
Fm
Ao
Co
Do
Fo
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
Bm
Cm
Fm
Am
Dm
Em
A+
B+
C+
D+
F+
G+
A+
C+
C+
E+
F+
G+
Cm
Dm
F+
A7
(5)
Am
B(5)
C+
F7
Gm
ENIGMATIC
NEAPOLITAN MAJOR
Am
A+
C+
Am
C+
Dm
IN SEN
HIRAJOSHI

NEAPOLITAN MINOR
(5)
E
E
(5)
F+
F
F
G(5)
G*
G(5)
G
A/B SCALES & CHORDS

suptonic
tonic
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
subdom
dom
submed
A/B
A/B
Cm
Dm
Gm
A/B
A/B m
Cm
Fm
Go
A/B
A/B m
Dm
Fo
A/B
A/B
Dm
A/B
A/B
Dm
Eo
Gm
A/B
A/B
Fm
Gm
A/B
A/B
Cm
Do
Fm
Gm
A/B
A/B m
Co
Dm
Fm
A/B
Cm
Dm
A/B
A/B
Co
Dm
Dm
F+
A/B
A/B m
C+
Dm
A/B
A/B
Co
Do
Dm
Fm
F+
A/B
A/B m
Cm
C+
Go
A/B
Bm
Cm
A/B
HARMONIC MAJOR
med
A/B
BLUES (HEXATONIC)
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
D7
C
(Cm)
C
(Cm)
C
D
D
F7
E
G
F7
Gm
Co
Eo
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
A/B
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
A/B
A/B
Cm
Dm
Gm
A/B
A/B m
Dm
Fm
A/B
A/B +
C+
D+
E+
G+
A/B
A/B +
C+
D+
F+
F+
A/B
A/B
Dm
Dm
(5)
F+
A/B
A/B m
C(5)
C+
F7
ENIGMATIC
A/B
NEAPOLITAN MAJOR
A/B
A/B m
B+
C+
A/B
A/B m
C+
Dm
IN SEN
A/B
HIRAJOSHI
A/B

NEAPOLITAN MINOR
(5)
F
F
(5)
G+
F
F
B SCALES & CHORDS

lead
tone
EXTRA
Ao
G
G
G
Gm
G
Gm
A
Am
G
G
G
G
G
G
G
Gm
A
Ao
A
A
G
A
Ao
G
G
tonic
B
B
Go
B
B
IONIAN (MAJOR)
DORIAN
PHRYGIAN
PHRYGIAN MAJOR
LYDIAN
LYDIAN DOMINANT
MIXOLYDIAN
LOCRIAN
HARMONIC MAJOR
HARMONIC MINOR
MELODIC MAJOR
MELODIC MINOR
suptonic
med
subdom
Cm
Dm
Bm
Cm
Bm
Em
Em
Dm
Fo
Fo
Cm
Do
Bm
Co
Em
Dm
Em
Co
Dm
Em
Bm
D+
Em
Co
Do
Em
Bm
Cm
D+
Cm
Dm
BLUES (HEXATONIC)
B7
(Cm)
(Cm)
Bo
Do
E7
D
E
E7
D
E
B
G
G
G
G+
A
A+
A
B
Am
A
A
A
(5)
A*
Asus2
G
(5)
B
B
B
PENTATONIC MAJOR
PENTATONIC MINOR
WHOLE TONE
AUGMENTED
Cm
Dm
Bm
Em
B+
C+
D+
B+
D+
D+
Dm
Em
Bm
C(5)
D+
G7
ENIGMATIC
NEAPOLITAN MAJOR
Bm
C+
D+
Bm
D+
Em
IN SEN
HIRAJOSHI

NEAPOLITAN MINOR
RDS
dom
submed
lead
tone
EXTRA
8
Gm
Ao
Fm
Fo
Am
Am
Gm
Am
Fm
Gm
Fm
Gm
Fm
Am
G+
Ao
Ao
Fm
G+
Go
Ao
Ao
F7
F
G
F
Gm
Fo
Go
Gm
Fm
F+
G+
A+
F+
G+
A+
G+
C7
(5)
Am
(5)
F
F
(5)
G+
G
G
F
F
A(5)
A*
A(5)
A

Modes, Scales, Keys & Chords

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1

MINOR THIRD MAJOR THIRD

<<------- INTERVAL SPELLING

MINOR THIRD MAJOR THIRD

MINOR THIRD MAJOR THIRD

<<------- INTERVAL SPELLING

MINOR THIRD MAJOR THIRD

MINOR THIRD MAJOR THIRD

<<------- INTERVAL SPELLING

MINOR THIRD MAJOR THIRD

<<------- INTERVAL SPELLING

MINOR THIRD MAJOR THIRD

MINOR THIRD MAJOR THIRD

<<------- INTERVAL SPELLING

MINOR THIRD MAJOR THIRD

MINOR THIRD MAJOR THIRD

<<------- INTERVAL SPELLING

MINOR THIRD MAJOR THIRD

MINOR THIRD MAJOR THIRD

<<------- INTERVAL SPELLING

NATURALS, SHARPS & FLATS

D major is 'majestic', the most romantically flavoured of the ma

Emajor is associated with bold, heroic music: grave, serious, bo

F major has been used plenty but... any associations?

Amajor has been favoured for slow movements, flute music... an

Bmajor has been used but... any associations?

& THEIR RELATIVES

moic equivalent but it has seen some use

ly flavoured of the major keys, lots of piano music

sic: grave, serious, bombastic, majestic or stately & religious

ments, flute music... any associations?

sed surprisingly often considering it's the enharmonic of a natural

NATURALS, SHARPS & FLATS

'serious but deaf & dull'

ullest sounding on strings

SUB& THEIR RELATIVES

Am is traditionally a 'sad' key

Cm has been associated with

Dm is a theoretical key but has seen a

Dm may be 'the saddest of a

D#m is not super well used compar

Em is dark & mysterious: of

Fm is 'harrowing & melancho

Am has been used (albeit not supe

tionally a 'sad' key

ditionally a 'dark' key

en associated with heroic struggle since Beethoven's time

etical key but has seen a few uses

uper well used compared to its enharmonic equivalent

ciated through Mozart with sadness & tragedy

itable for music in good taste

DOMINANT / SEVENTH CHORDS

Dominant Seventh (Major/Minor 7)

Major #11 (Lydian)

*red tones can be omitted without changing the chord

SUSPENSIONS work well as naturally-major I, IV and V chords of a key. A suspended I c

(*called 7th even tho contains minor 7)

(*any chord w/ major 3rd can have 3rd replaced by

maj2 or perf4 to make a suspected chord)

e.g. /C for C11

(*a.k.a power chord)

th of the chord ends up being a major second from the tonic

bright, strong sound: most commonly used chords