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COMMON SCALES

Right-hand fingerings

A scale is a collection of notes that have a musical connection. Scales are characterised and distinguished by their different interval patterns. They are the building blocks for chords and the starting points for composition. There are many scales (too many to fit on this poster), but below are some of the most popular and frequently used. Please note that for ease of reading, the flat symbol ( b ) 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 symbol ( # ) and the double-sharp symbol (  ) for two hash symbols ( ## ).

 Ü

3

4

2

3

3

3

2

4

3

3

Left-hand fingerings Notes in the scale Grid reference

1

1

2

1

2

1

C#•D#•E•F#•G#•A•B#•C# 

CD 2

Where scales begin with accidental notes (flats and sharps), this indicates what the scale is most commonly referred to as (e.g is it C# major or Db major)

C#

COMMON CHORDS

Inversions of the chord

A chord is any harmonic set of two or more (usually three or more) notes (pitches) that are played simultaneously. For many practical and theoretical purposes, arpeggios and broken chords may also be considered as chords. The most frequently encountered chords are triads, so called because they consist of three distinct notes - the root note, and intervals of a 3rd and a 5th above the root note. An ordered series of chords is called a chord progression.

Notes in the chord

C#•E•G# 

Grid reference

E•G#•C#/ G#•C#•E

CD6

C#

In the instance of accidental notes (flats and sharps), this indicates what the chord is commonly referred to as (e.g is it C# major or Db major)

MAJOR

NATURAL MINOR

MELODIC MINOR

HARMONIC MINOR

MAJOR

MINOR

AUGMENTED

DIMINISHED

DOMINANT SEVENTH

The most common of all scales, each scale starts with the root note and ascends up the keyboard in the following increments: Tone, Tone, Semitone, Tone, Tone, Tone, Semitone.

Each natural minor scale shares the same notes (albeit in a different order) as its ‘relative’ major scale. To find its ‘relative major’, just add 3 semitones to whatever key you’re starting from. For example, ‘A natural minor’ would have the relative major of C (A natural minor being C majors ‘relative minor’).

This scale is played differently ascending and descending. Going up the scale you use the melodic minor, going down the scale you play the natural minor (using the associated fingerings for both). It differs from the natural minor scale with the 6th and 7th notes being raised a semitone.

One of three minor scales, the harmonic minor scale is often referred to as ‘the’ minor scale. It differs from the major scale with flattened 3rd and 6th notes, following the pattern: Tone, Semitone, Tone, Tone, Semitone, Augmented Second, Semitone.

A major chord consists of three notes - the root, 3rd and 5th of the scale. Its symbol is ‘M’ or ‘maj’. For example, ‘C major’ can be written as ‘CM’ or ‘Cmaj’.

A minor chord is formed by playing the root, flattened 3rd, and 5th of the scale. Its symbol is ‘m’ or ‘min’. For example, ‘C minor’ can be written as ‘Cm’ or ‘Cmin’.

An augmented chord is formed by playing the root, 3rd and sharpened 5th of the scale. Its symbol is ‘aug’ or ‘+’. For example, ‘C augmented’ can be written as ‘Caug’ or ‘C+’.

A diminished chord is formed by playing the root, flattened 3rd and flattened 5th of the scale. Its symbol is ‘dim’ or ‘°’. E.g ‘C diminished’ can be written as ‘Cdim’ or ‘C°’.

A dominant seventh chord consists of four notes - the root, 3rd, 5th and flattened 7th of the scale. Its symbol is ‘dom’ or ‘7’. E.g ‘C dominant seventh’ can be written as ‘Cdom’ or ‘C7’.

KEY SIG. ▼

www.TheReallyUsefulPosterCompany.com MUSICAL NOTATION & SIGHT READING

3

C

3

3

4

3

2

3

3

3

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

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

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•D•E•F•G•A•B•C

C1

C•D•Eb Eb• •F•G•Ab Ab• •Bb Bb• •C

C2

C•D•Eb Eb• •F•G•A•B•C

C3

C•Eb Eb• •G

E •G• C /  / G  G• • C• E

C•D•Eb Eb• •F•G•Ab Ab• •B•C

C4

DescendingNotes andFingerings: SeeadjacentNatural Minor

C•E•G

C•E•G# 

Eb• Eb •G•C /  / G  G• •C•Eb

C5

E• G# • C / G# • C•E

C6

C8

Bb• Bb •C•E•G

C9

 

2

3

2

3

4

2

3

4

2

3

3

2

3

2

3

4

2

3

4

2

3

3

3

2

4

3

2

3

3

2

4

3

3

3

2

4

3

2

3

3

2

4

3

3

Db

1

1

1

1

3

1

2

5

4

1

2

2

1

C# •D# •E•F# •G# •A•B•C# 

CD2

C#

1

1

1

1

C# •D# •E•F# •G# •A# •B# •C# 

CD3

2

C#

DescendingNotes andFingerings: SeeadjacentNatural Minor

3

1

1

2

1

2

1

3

2

2

3

5

1

2

3

1

2

4

5

1

2

3

1

2

3

5

1

2

2

1

3

1

5

4

3

2

1

2

1

5

4

3

2

1

3

1

5

4

D2

D3

C#

CD5

C# •E•G# 

C# •E# •G## 

E •G# •C#  / G#    /  G# •C# •E

Db

CD6

CD7

Db• Db •F•Ab Ab• •Cb

C# •E•G

E# •G## •C#  /   / G## •C# •E# 

C#

CD8

C#

CD9

Cb• Cb •Db Db• •F•Ab

 

8

4

9

1. A brace connecting the bass and treble clef forms the grand stave (staff).

F•Ab Ab• •Cb Cb• •Db Db /  / Ab  Ab• •Cb Cb• •Db Db• •F /

E•G•C#  / G   /  G• •C# •E

C#

3

Db

2. The treble clef. This is usually played with the right hand. 3. The bass clef. This is usually played with the left hand.

4

D•E•F•G•A•Bb Bb• •C•D

Db• Db •F•Ab F•Ab Ab• • Db Db /  / Ab  Ab• •Db Db• •F

C# •D# •E•F# •G# •A•B# •C# 

CD4

1

D•E•F# •G•A•B•C# •D

D1

D#  

1

Db

4

3

D

1

Db• Db •Eb Eb• •F•Gb Gb• •Ab Ab• •Bb Bb• •C•Db

CD 1

6

2

1

C#  

7

5

E •G•Bb Bb• •C /  / G  G• • Bb Bb• •C•E /

Eb• Eb •Gb Gb• •C /  / Gb  Gb• •C•Eb

C7

THE GRAND STAVE (STAFF)

C•E•G•Bb

C•Eb Eb• •Gb

D•E•F•G•A•B•C# •D

4

3

2

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

1

2

5

3

2

1

1

D•E•F•G•A•Bb Bb• •C# •D

D4

DescendingNotes andFingerings: SeeadjacentNatural Minor

3

3

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3

3

2

3

4

2

3

3

2

3

4

3

3

2

3

4

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2

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2

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2

2

4

3

2

2

2

4

3

2

2

D•F# •A

D•F•A

D•F# •A# 

D•F•Ab

F# •A•D /  / A  A• • D•F# 

F• A•D /  / A  A• •D•F

F# •A# •D / A# • D•F# 

F•Ab Ab• •D /  / Ab  Ab• •D•F

D5

D6

D7

5. The time signature of the piece. The top number determines how many beats there are per bar (measure) - in this case 2 beats. The bottom number denotes the length of the notes in the piece - in this case crotchets (quarter notes (4)). See below for more information on note lengths.

D•F# •A•C F# •A•C•D / A•C•D•F#  /  /

D8

C•D•F# •A

D9

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 determine how many beats there are in a bar. 8. This marks a single octave.

Eb

E E1

1

2

1

2

2

1

2

1

Eb• Eb •F•G•Ab Ab• •Bb Bb• •C•D•Eb

DE1

2

3

4

3

3

4

3

2

Eb

DE2

1

1

1

1

Eb• Eb •F•Gb Gb• •Ab Ab• •Bb Bb• •Cb Cb• •Db Db• •Eb

Eb

DE 3

1

1

2

1

1

3

Eb• Eb •F•Gb Gb• •Ab Ab• •Bb Bb• •C•D•Eb

Eb

DescendingNotes andFingerings: SeeadjacentNatural Minor

2

2

4

4

3

4

3

2

DE4

1

1

2

1

1

3

Eb• Eb •G•Bb

2

2

5

1

3

1

2

3

4

5

1

3

1

2

5

1

3

1

2

3

5

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1

1

5

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2

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3

2

1

5

3

2

1

1

5

3

2

1

3

1

E•F# •G•A•B•C•D•E

E3

E•F# •G•A•B•C# •D# •E

E4

DescendingNotes andFingerings: SeeadjacentNatural Minor

DE5

Eb• Eb •G•B

Gb• Gb •Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •Gb

Eb

DE6

DE7

Eb• Eb •G•Bb Bb• •Db

Eb• Eb •Gb Gb• •Bbb

G•B •Eb Eb /  / B•Eb Eb• •G

Eb

DE8

9. The thick double bars mark the end of a piece of music.

G•Bb Bb• •Db Db• •Eb Eb /  / Bb  Bb• • Db Db• • Eb Eb• •G /  /  

Gb• Gb •Bbb Bbb• •Eb Eb /  / Bbb  Bbb• •Eb Eb• •Gb

Eb

Eb

Db• Db •Eb Eb• •G• Bb

DE9

Eb

KEY SIGNATURES (MAJOR/minor)

C/a

G/e

D/b

A / f#

E / c#

B /g#

F /d

Bb /g

Eb /c

Ab /f

Db /b flat

Gb /eb

2

1

5

E2

Eb

4

4

1

E•F# •G# •A•B•C# •D# •E

Eb• Eb •Gb Gb• •Bb

G•Bb Bb• •Eb Eb /  / Bb Bb• • Eb Eb• •G

Eb• Eb •F•Gb Gb• •Ab Ab• •Bb Bb• •Cb Cb• •D•Eb

E•G# •B

E•G•B

G# • B•E /  / B  B• •E •G# 

E•F# •G•A•B•C•D# •E

E•G# •B# 

G•B• E /  / B  B• •E•G

E5

E•G•Bb

G# •B# •E /  / B#   B# •E •G# 

E6

E•G# •B•D G# •B• D•E / B•D•E•G#  /    / 

G•Bb Bb• • E /  / Bb  Bb• •E•G

E7

E8

D•E•G# •B

E9

COMMONNOTATION 4 2

F F1

# 

F 

4

3

2

2

3

3

2

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2

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2

2 3

2

3

1

2

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4

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2

1

4

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2

1

2

3

4

1

2

1

3

4

5

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1

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2

1

5

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1

1

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1

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1

5

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1

2

1

F•G•A•Bb Bb• •C•D•E•F

F2

F•G•Ab Ab• •Bb Bb• •C•Db Db• •Eb Eb• •F

F3

F•G•Ab Ab• •Bb Bb• •C•D•E•F

F4

DescendingNotes andFingerings: SeeadjacentNatural Minor

F•G•Ab Ab• •Bb Bb• •C•Db Db• •E•F

2

3

4

2

3

2

2

3

3

3

2

3

3

4

2

2

3

3

3

4

3

2

3

2

4

4

3

3

4

4

3

3

2

4

4

3

3

4

Gb FG1

3

1

1

1

1

2

1

2

1

2

1

1

2

1

2

1

1

2

1

2

1

2

1

1

2

1

2

1

Gb• Gb •Ab Ab• •Bb Bb• •Cb Cb• •Db Db• •Eb Eb• •F•Gb

Gb

FG2

F# •G# •A•B•C# •D•E•F# 

F#

FG3

F# •G# •A•B•C# •D# •E# •F# 

F#

DescendingNotes andFingerings: SeeadjacentNatural Minor

FG4

F•A•C

F•Ab Ab• •C

F•A•C# 

F•Ab Ab• •Cb

A•C•F /  / C  C• •F•A

Ab• Ab • C• F /  / C  C• •F •Ab

A•C# •F / C# •F•A

Ab• Ab •Cb Cb• • F /  / Cb  Cb• • F•Ab

F5

F# •G# •A•B•C# •D•E# •F# 

F#

F6

F7

F# •A# •C## 

F# •A•C

A# •C# •F#  / C#    / C# •F# •A# 

A•C# • F#  / C#    /  C# •F# •A

A# •C## •F#  /   / C## •F# •A# 

A•C• F#  / C   /  C• •F# •A

FG6

F#

FG7

F#

Eb• Eb •F •A•C

F9

F# •A•C#  F#

A•C•Eb Eb• •F /  / C  C• •Eb Eb• •F•A /  /  

F8

F# •A# •C#  FG5

F•A•C•Eb

FG8

F# •A# •C# •E A# •C# • E•F#  / C#    / C# •E•F# •A#  /  /

F#

E •F# • A# • C# 

FG9

F#

Semibreve (Whole note) (4 beats)

Accent (emphasis on a note/notes)

Minim (Half note) (2 beats)

Marcato (play louder/with force)

Crotchet (Quarter note) (1 beat)

Tenuto (hold for the notes full length)

Quaver (Eighth note) (1/2 beat)

Sforzando (decrease in loudness)

Semiquaver (16th note) (1/4 beat)

Fermata (prolong the note)

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)

Quaver rest (Eighth rest) (1/2 beat)

Forte (play loud)

Semiquaver rest (16th rest) (1/4 beat)

Fortissimo (play very loud)

Ritardando (Rit.) (decreased (decreased tempo)

Crescendo (gradually increase vol.)

Rallentando (Rall.) (slow down)

Decrescendo (graduallydecreasevol.)

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)

G G1

4

3

3

3

3

3

3

4

2

3

3

3

2

3

3

2

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•A•B•C•D•E•F# •G

G2

G•A•Bb Bb• •C•D•Eb Eb• •F•G

G3

G•A•Bb Bb• •C•D•E•F# •G

G4

DescendingNotes andFingerings: SeeadjacentNatural Minor

Segno (repeat passage from here)

Staccato (play short and sharp)

G•B•D

G•Bb Bb• •D

B•D•G /  / D  D• •G•B

G•A•Bb Bb• •C•D•Eb Eb• •F# •G

G•B•D# 

Bb• Bb • D•G /  / D  D• •G•Bb

G5

G•B•D•F

G•Bb Bb• •Db

B•D# •G / D# •G•B

G6

B •D•F •G / D•F •G•B /  /  

Bb• Bb •Db Db• •G /  / Db  Db• •G•Bb

G7

Temp o R an g es Grave Largo L ar gh et ot

G8

F•G•B •D

G9

BPM 40-50 50-55 5 5-6 0

Coda (passage that ends a piece)

Adagio Andante M od er at o A l eg re re t o

60-70 70-85 8 5- 10 0 1 00 -11 5

A ll eg o r Vivace Pre sto P re s it ss im o

115 -140 140-150 150-170 1 70 +

WRITING CHORDS TO A SONG

G#  

3

4

2

3

3

3

4

2

3

2

3

3

4

2

3

3

2

3

2

3

3

3

2

4

3

3

3

2

3

2

3

2

3

2

4

3

3

3

2

3

2

2

Ab GA1

A A1

1

1

2

1

1

1

1

2

1

1

2

1

2

1

1

1

1

2

1

1

1

3

Ab• Ab •Bb Bb• •C•Db Db• •Eb Eb• •F•G•Ab

Ab

GA2

G# •A# •B•C# •D# •E•F# •G# 

G#

GA3

G# •A# •B•C# •D# •E# •F## •G# 

G#

DescendingNotes andFingerings: SeeadjacentNatural Minor

GA4

3

4

3

4

4

3

3

2

3

2

2

1

2

1

2

5

5

4

2

1

1

A2

1

2

3

1

2

3

4

5

5

4

3

2

1

3

2

1

A•B•C•D•E•F•G•A

A3

1

2

3

1

2

5

5

4

3

2

1

1

A•B•C•D•E•F# •G# •A

A4

DescendingNotes andFingerings: SeeadjacentNatural Minor

G# •B•D# 

C• Eb Eb• •Ab Ab /  / Eb  Eb• • Ab Ab• •C

G# •A# •B•C# •D# •E•F## •G# 

3

A•B•C# •D•E•F# •G# •A

When writing chord progressions, roman numerals are used to indicate a chords position relative to the scale. In order to write chord progressions for any Major or Minor key, we can follow these simple formulae.

Ab• Ab •C•Eb G#

GA5

Ab• Ab •C•E

B•D# •G#  / D#    /  D# •G# •B

Ab

GA6

C•E•Ab Ab /  / E•Ab Ab• •C

G#

GA7

Ab• Ab •C•Eb Eb• •Gb

G# •B•D

C•Eb Eb• •Gb Gb• •Ab Ab /  / Eb  Eb• •Gb Gb• •Ab Ab• •C /  /  

B•D•G#  / D   /  D• •G# •B

Ab

GA8

G#

GA9

Gb• Gb •Ab Ab• •C•Eb

Ab

Major Chords Seque nce

Major

Minor

Minor

Major

Major

Minor

Dim.

Position

I

ii

iii

IV

V

vi

vii°

Example (C major)

Cmaj

Dm

Em

Fmaj

Gmaj

Am

Bdim

Seque nce

Minor

Dim.

Ma oj r

Minor

Minor

Major

Major

Position

i

ii°

III

iv

v

VI

VII

Example (A minor)

Am

Bdim

Cmaj

Dm

Em

Fmaj

Gmaj

Minor Chords

1

2

3

1

2

3

5

5

4

3

2

1

3

1

A•C# •E

A•C•E

C# •E •A /  / E  E• •A•C# 

A•B•C•D•E•F•G# •A

A•C# •E# 

C•E•A /  / E  E• •A• C

A5

A•C# •E•G

A•C•Eb

C# •E# •A / E# •A•C# 

A6

C# •E •G•A /  / E  E• •G•A•C#  /    / 

C•Eb Eb• •A /  / Eb  Eb• •A•C

A7

A8

A9

G•A•C# •E

THE CIRCLE OF FIFTHS

A#  

4

3

4

2

2

3

2

3

4

4

2

3

4

2

2

3

2

4

3

4

3

2

3

2

4

3

2

2

4

3

2

2

3

2

4

2

Bb AB1

B B1

1

2

1

2

3

2

1

3

2

1

Bb• Bb •C•D•Eb Eb• •F•G•A•Bb

2

3

3

2

Bb

2

3

4

4

3

2

AB2

1

1

1

1

Bb• Bb •C•Db Db• •Eb Eb• •F•Gb Gb• •Ab Ab• •Bb

2

Bb

AB3

1

2

3

1

2

1

3

Bb• Bb •C•Db Db• •Eb Eb• •F•G•A•Bb

Bb

DescendingNotes andFingerings: SeeadjacentNatural Minor

2

3

1

2

4

3

2

3

4

4

3

2

AB4

1

1

3

1

1

3

Bb• Bb •D•F

2

2

3

Bb

5

1

3

1

3

4

5

1

3

1

5

1

3

1

3

5

1

1

4

2

1

3

2

1

4

2

1

1

4

2

1

3

1

B2

B•C# •D•E•F# •G•A•B

B3

DescendingNotes andFingerings: SeeadjacentNatural Minor

B4

Bb• Bb •D•F# 

Db• Db •F•Bb Bb /  / F  F• •Bb Bb• •Db

Bb

AB6

Bb• Bb •Db Db• •Fb

D•F# •Bb Bb /  / F# •Bb Bb• •D

Bb

AB7

D•F •Ab Ab• •Bb Bb /  / F•Ab Ab• •Bb Bb• •D /  /  

Db• Db •Fb Fb• •Bb Bb /  / Fb  Fb• •Bb Bb• •Db

Bb

AB8

Bb

AB9

Ab• Ab •Bb Bb• •D•F

2

1

4

B•C# •D# •E•F# •G# •A# •B

AB5

4

4

1

B•C# •D•E•F# •G# •A# •B

Bb• Bb •Db Db• •F

D•F •Bb Bb /  / F  F• •Bb Bb• •D

Bb• Bb •C•Db Db• •Eb Eb• •F•Gb Gb• •A•Bb

Bb• Bb •D•F•Ab

B•C# •D•E•F# •G•A# •B

B•D# •F# 

B•D•F# 

D# • F# •B /  / F#   F# •B •D# 

B5

B•D# •F## 

D•F# • B /  / F#   F# •B•D

B6

B•D# •F# •A

B•D•F

D# •F## •B / F## •B •D# 

B7

D# •F# •A•B / F# •A•B •D#  /    / 

D•F• B /  / F  F• • B•D

B8

B9

A•B• D# •F# 

Bb

The circle of fifths is a diagrammatic representation of the relationship between the 12 tones of the chromatic scale. For example, the scales of ‘F major’ and ‘G major’ differ from the scale of ‘C major’ by just 1 note, which is why they are placed either side of ‘C’ on the circle. Knowing this helps when building chord progressions and harmonies. Outer ring: Major keys Middle ring: Minor keys 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.

Chord progressions made easy with...

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. 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 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. KEY SIG. ▼

I Major

>

ii Minor

>

iii Minor

>

IV Major

>

V Major

>

MAJOR SCALE CHORD SETS

MINOR SCALE CHORD SETS

Major scale chord sets are defined by the sequence of chord types: Major, Minor, Minor, Major, Major, Minor, Diminished (I, ii, iii, IV, V, vi, vii o). For more information on how these 3 different chord types are formed, take a look at the chords section on The Really U seful Piano Poster.

Minor scale chord sets are defined by the sequence of chord types: Minor, Diminished, Major, Minor, Minor, Major, Major (i, ii o, III, iv, v, VI, VII). For this poster we have used the Natural Minor scale as opposed to the Harmonic or Melodic Minor scale, as it corresponds with the relative Major scale.

vi Minor

>

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) 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 (i o, ii o, iiio, iv o). 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).

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o

vii   Diminished

i Minor

>

o

ii   Di Diminished

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, 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 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 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 ( ## ).

 Ü

>

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 Eb• •G

D•F•Ab

Eb• Eb •G•Bb

F•Ab Ab• •C

G•Bb Bb• •D

Ab• Ab •C•Eb

Bb• Bb •D•F

E•G•C /  / G  G• •C•E

F•A•D /  / A  A• • D•F

G•B• E /  / B  B• • E•G

A• C• F / C•F •A

B•D•G /  / D  D• • G•B

C•E •A /  / E  E• •A•C

D•F• B /  / F  F• • B•D

Eb• Eb •G•C / G•C•Eb

F •Ab Ab• •D /  / Ab  Ab• •D• F

G• Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •G

Ab• Ab •C•F / C•F •Ab

Bb• Bb •D•G / D•G• Bb

C• Eb Eb• •Ab Ab /  / Eb Eb• • Ab Ab• •C

D•F•Bb Bb /  / F  F• •Bb Bb• •D

C#   Db

Db• Db •F•Ab

Eb• Eb •Gb Gb• •Bb

F•Ab Ab• •C

F# (Gb)• (Gb)•A# •C# 

Ab• Ab •C•Eb

Bb• Bb •Db Db• •F

C•Eb Eb• •Gb

C# •E•G# 

Eb (D#)• (D#)•Gb Gb• •Bbb

E•G# •B

F# •A•C# 

G# •B•D# 

A•C# •E

B•D# •F# 

F •Ab Ab• •Db Db /  / Ab  Ab• •Db Db• •F

Gb• Gb •Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •Gb

Ab• Ab • C• F / C•F •Ab

A# •C# •F#  /   / C# •F# •A# 

C•Eb Eb• • Ab Ab /  / Eb  Eb• •Ab Ab• •C

Db• Db •F •Bb Bb /  / F  F• •Bb Bb• •Db

Eb• Eb •Gb Gb• •C /  / Gb  Gb• •C•Eb

E•G# •C#  /   / G# •C# •E

Gb• Gb •Bbb Bbb• •Eb Eb /  / Bbb  Bbb• •Eb Eb• •Gb

G# •B •E /  / B  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#   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 Bb• •D

A•C•E

Bb• Bb •D•F

C•E•G

F# • A•D /  / A  A• •D•F# 

G• B•E /  / B  B• •E •G

A•C# •F#  / C#    /  C# •F# •A

B• D•G / D•G• B

C# •E •A /  / E  E• •A•C# 

D•F# •B /  / F#   F# •B •D

E•G•C#  / G   /  G• •C# •E

F •A• D / A•D•F

G•Bb Bb• •E /  / Bb  Bb• • E•G

A•C•F /  / C  C• •F •A

Bb• Bb •D•G / D•G•Bb

C• E•A /  / E  E• • A•C

D•F •Bb Bb /  / F  F• •Bb Bb• •D

E•G•C /  / G  G• •C•E

D#   Eb

Eb• Eb •G•Bb

F•Ab Ab• •C

G•Bb Bb• •D

Ab• Ab •C•Eb

Bb• Bb •D•F

C•Eb Eb• •G

D•F•Ab

Eb• Eb •Gb Gb• •Bb

F•Ab Ab• •Cb

F# (Gb)• (Gb)•A# •C# 

G# (Ab)• (Ab)•B•D# 

Bb• Bb •Db Db• •F

B (Cb)• (Cb)•D# •F# 

Db• Db •F•Ab

G•Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •G

Ab• Ab •C•F /  / C  C• •F•Ab

Bb• Bb • D•G /  / D  D• •G• Bb

C•Eb Eb• •Ab Ab /  / Eb Eb• •Ab Ab• •C

D•F •Bb Bb /  / F  F• •Bb Bb• •D

Eb• Eb • G•C /  / G  G• •C• Eb

F•Ab Ab• •D /  / Ab  Ab• •D•F

Gb• Gb • Bb Bb• •Eb Eb /  / Bb Bb• •Eb Eb• •Gb

Ab• Ab •Cb Cb• •F /  / Cb  Cb• •F• Ab

A# • C# •F#  / C#    / C# •F# •A# 

B• D# •G#  / D#    / D# •G# •B

Db• Db •F•Bb Bb /  / F•Bb Bb• •Db

D# • F# •B /  / F#   F# •B •D# 

F•Ab Ab• •Db Db /  / Ab  Ab• •Db Db• •F

E E•G# •B

F# •A•C# 

G# •B•D# 

A•C# •E

B•D# •F# 

C# •E•G# 

Eb (D#)• (D#)•Gb 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  B• • E•G# 

A•C# •F#  / C#    / C# •F# •A

B•D# •G#  /   / D# •G# •B

C# • E•A / E •A• C# 

D# •F# •B /  / F#   F# •B •D# 

E•G# •C#  / G#    / G# • C# •E

Gb• Gb •Bbb Bbb• •Eb Eb /  / Bbb  Bbb• •Eb Eb• •Gb

G•B •E / B •E•G

A•C•F#  / C   / C• •F# •A

B •D•G /  / D  D• •G•B

C•E•A /  / E  E• •A•C

D•F# •B / F# • B•D

E •G• C /  / G  G• • C•E

F# • A• D /  / A  A• •D•F# 

F F•A•C

G•Bb Bb• •D

A•C•E

Bb• Bb •D•F

C•E•G

D•F•A

E•G•Bb

F•Ab Ab• •C

G•Bb Bb• •Db

Ab• Ab •C•Eb

Bb• Bb •Db Db• •F

C•Eb Eb• •G

Db• Db •F•Ab

Eb• Eb •G•Bb

A• C• F /  / C  C• •F •A

Bb• Bb •D•G /  / D  D• •G•Bb

C• E•A / E •A• C

D•F•Bb Bb /  / F• Bb Bb• •D

E •G•C /  / G  G• •C•E

F•A•D /  / A  A• •D•F

G•Bb Bb• •E /  / Bb  Bb• •E•G

Ab• Ab •C•F / C•F •Ab

Bb• Bb •Db Db• •G /  / Db  Db• •G• Bb

C•Eb Eb• •Ab Ab /  / Eb Eb• •Ab Ab• •C

Db• Db •F•Bb Bb /  / F •Bb Bb• • Db

Eb• Eb •G•C /  / G  G• •C•Eb

F•Ab Ab• •Db Db /  / Ab Ab• •Db Db• •F

G•Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •G

F# (Gb)• (Gb)•A# •C# 

G# (Ab)• (Ab)•B•D# 

Bb• Bb •Db Db• •F

B (Cb)• (Cb)•D# •F# 

Db• Db •F•Ab

Eb• Eb •Gb Gb• •Bb

F•Ab 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#    /  C# •F# •A# 

B •D# • G#  / D#    / D# •G# •B

Db• Db •F•Bb Bb /  / F  F• • Bb Bb• •Db

D# •F# • B / F# •B•D# 

F• Ab Ab• •Db Db /  / Ab  Ab• •Db Db• •F

Gb• Gb •Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •Gb

Ab• Ab •Cb Cb• • F /  / Cb  Cb• •F •Ab

A• C# • F#  /   / C# •F# •A

B•D•G#  / D   / D• •G# •B

C# •E•A /  / E  E• •A•C# 

D•F# •B / F# •B•D

E •G# •C#  / G#    / G# •C# •E

F# •A•D / A• D•F# 

G# •B• E /  / B  B• •E•G# 

F#   Gb

G G•B•D

A•C•E

B•D•F# 

C•E•G

D•F# •A

E•G•B

F# •A•C

G•Bb Bb• •D

A•C•Eb

Bb• Bb •D•F

C•Eb Eb• •G

D•F•A

Eb• Eb •G•Bb

F•A•C

B• D•G /  / D  D• •G• B

C•E •A /  / E  E• •A•C

D•F# • B / F# •B•D

E•G•C / G•C•E

F# •A•D /  / A  A• •D•F# 

G•B •E /  / B  B• •E• G

A•C•F#  / C   /  C• •F# •A

Bb• Bb •D•G / D•G•Bb

C•Eb Eb• •A /  / Eb  Eb• •A• C

D•F•Bb Bb /  / F  F• •Bb Bb• •D

Eb• Eb •G•C /  / G  G• •C•Eb

F•A•D / A•D• F

G•Bb Bb• •Eb Eb /  / Bb  Bb• • Eb Eb• •G

A•C•F /  / C  C• •F •A

G#   Ab

Ab• Ab •C•Eb

Bb• Bb •Db Db• •F

C•Eb Eb• •G

Db• Db •F•Ab

Eb• Eb •G•Bb

F•Ab Ab• •C

G•Bb Bb• •Db

G# •B•D# 

Bb (A#)• (A#)•Db Db• •Fb

B•D# •F# 

C# •E•G# 

Eb (D#)• (D#)•Gb Gb• •Bb

E•G# •B

F# •A# •C# 

C•Eb Eb• •Ab Ab /  / Eb  Eb• •Ab Ab• •C

Db• Db •F •Bb Bb /  / F  F• •Bb Bb• •Db

Eb• Eb •G•C / G•C•Eb

F •Ab Ab• •Db Db /  / Ab Ab• •Db Db• •F

G•Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •G

Ab• Ab •C•F /  / C  C• •F•Ab

Bb• Bb •Db Db• •G /  / Db  Db• •G•Bb

B• D# •G#  /   / D# •G# •B

Db• Db •Fb Fb• •Bb Bb /  / Fb  Fb• • Bb Bb• •Db

D# •F# •B /  / F#   F# •B•D# 

E•G# •C#  / G#    / G# •C# •E

Gb• Gb •Bb Bb• •Eb Eb /  / Bb  Bb• •Eb Eb• •Gb

G# •B•E /  / B  B• •E •G# 

A# •C# • F#  / C#    / 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  E• •A• C# 

D•F# •B /  / F#   F# •B •D

E •G# •C#  /   / G# •C# •E

F# •A•D / A•D•F# 

G# •B•E /  / B  B• •E •G# 

A•C# •F#  / C#    / C# •F# •A

B•D•G#  / D   /  D• •G# •B

C•E•A / E •A•C

D•F•B /  / F  F• •B •D

E•G•C /  / G  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  D• •G•B

A#   Bb

Bb• Bb •D•F

C•Eb Eb• •G

D•F•A

Eb• Eb •G•Bb

F•A•C

G•Bb Bb• •D

A•C•Eb

Bb• Bb •Db Db• •F

C•Eb Eb• •Gb

Db• Db •F•Ab

Eb• Eb •Gb Gb• •Bb

F•Ab Ab• •C

F# (Gb)• (Gb)•A# •C# 

Ab• Ab •C•Eb

D•F•Bb Bb /  / F  F• • Bb Bb• •D

Eb• Eb •G•C /  / G  G• •C• Eb

F• A•D / A•D•F

G•Bb Bb• •Eb Eb /  / Bb Bb• •Eb Eb• •G

A•C•F /  / C  C• •F•A

Bb• Bb •D•G /  / D  D• •G•Bb

C•Eb Eb• •A /  / Eb  Eb• •A•C

Db• Db •F•Bb Bb /  / F •Bb Bb• • Db

Eb• Eb •Gb Gb• •C /  / Gb  Gb• •C•Eb

F•Ab Ab• •Db Db /  / Ab  Ab• •Db Db• •F

Gb• Gb • Bb Bb• •Eb Eb /  / Bb Bb• •Eb Eb• •Gb

Ab• Ab •C•F / C•F• Ab

A# •C# •F#  /   / C# •F# •A# 

C•Eb Eb• •Ab Ab /  / Eb  Eb• •Ab Ab• •C

B•D# •F# 

C# •E•G# 

Eb (D#)• (D#)•Gb Gb• •Bb

E•G# •B

F# •A# •C# 

G# •B•D# 

Bb (A#)• (A#)•Db 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#   F# •B•D# 

E•G# •C#  / G#    / G# • C# •E

Gb• Gb •Bb Bb• •Eb Eb /  / Bb Bb• •Eb Eb• •Gb

G# •B•E / B• E•G# 

A# •C# •F#  / C#    / C# •F# • A# 

B •D# • G#  / D#    / D# •G# •B

Db• Db •Fb Fb• •Bb Bb /  / Fb  Fb• •Bb Bb• •Db

D•F# •B / F# •B•D

E •G• C#  / G   / G• • C# •E

F# •A• D /  / A  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  E• •A•C# 

B