T A B L E 0 F K E y s

The Table of Keys can be used to find the notes of any chord or scale in any key, and to transpose melodies and chord progressions. The table shows the relationship
between the major scale (DO RE MI FA SO LA TI DO) and the chromatic scale (which divides the octave into twelve equal half steps) in each of the twelve major
keys.

------one octave (twelve half-steps)-------.

whole whole -half

Universal 7 1 (B)
Key
(scale degrees) octave

Key of C C jDb D 1%JE F 1%1G ~A lab a {c

Key of Db Db Ebb Eb l¼I F Gb l%aJ Ab l¾I ab I Cb C Db
KeyofD D Eb E ~F# G !%IA ~a . C C# D
Key of Eb Eb Fb F 1%1G Ab l¾Jab 1%1c Db D Eb
Key of E E F F# l;;¾1G# A ~a 1!%Jc#, D D# E
KeyofF F Gb G ~A 1%10 abl¾lC
Eb E F
:::=::::::;:=~========::;:::=~:::;::=~===:;:=::::¢:=:::==*==
Key of F# F# G G# A# a D# E E# F#

Key of G IG IAb IA ~a jc ~o ~E IF F# IG
Key of Ab I Ab jabb jab U]c job 1%]Eb U)F jGb G I Ab
Key of A IA jab la ~c# jo 1%]E W)F# IG G# IA
Key of ab lab jcb jc ~o !Eb U}F l%)G jAb A jab
Key of B le jc jc# E:film IE ruF# ~G# jA jA# je
Universal
Key
(chord function)
I I jb11 I II jm1 Im jiv lbv I v lbVI jvi lbvi1lvi1j I J
THE UNIVERSAL l(EY
The UNIVERSALKE_Y_uses a number rather than a letter to name each note of the majorscale(DO = I, RE= 2, MI= 3, etc.). By thinking of the notes of a chord or
melody as numbers 1t 1s easy to find the corresponding notes in any key. The UNIVERSAL KEY is used by musicians as an easy-to-understand system that simplifies
communicating and playing all styles of music.

Copyright I 983 All Rights Reserved

CASfALIA PUBLICATIONS P.O. BOX 2503, PETALUMA, CA 94953
 HOWITWORRS FINDING CHORDS AND SCALES
Because its sound is so familiar the major scale has been used for centuries as the The notes of any chord or scale may be found in any key by comparing the for-
standard musical reference scale. The characteristic sound of the major scale (or mula for any chord or scale from the CHORD AND SCALE TABLE to the TABLE
any other scale) is created by its structure (order of whole and half steps), which is OF KEYS.
the same in all keys. In the Universal Key system the tones of the major scale are
expressed as numbers: DO= I, RE= 2, MI =3, FA= 4, SO= 5, LA =6, TI= 7, To find the notes of any chord, Example, Fm7
DO = I (8). Non-major tones are expressed in terms of their relationship to the I. Use the CHORD AND SCALE TABLE (or other reference source) to find the
major scale (Epin the key ofC is p3, A pin the key ofD is p5). Chord tones which
are second octave extensions of seventh chords are listed in parentheses(9, - 11, chord formula (minor seventh= I p3 5 p7).
etc.). The notes of any chord or scale may be found in any key by comparing the 2. Look on the TABLE OF KEYS for the key (key ofF).
formula for any chord or scale from the CHORD AND SCALE TABLE (or other
reference source) to the TABLE OF KEYS. 3. Find the notes in that key that correspond to the numbers of the chord formula
Example, (I= F, p3 =- A~ 5 = C, p7 = E~).
This example shows how one scale (G major) relates to the Universal Key, the Key of F F E F
piano keyboard, and the treble staff.
Universal 181
Key 7 1
Major Scale! DOj . j RE j 1
501 IIAI jn [ool To find the notes of any scale or mode, follow the same steps.
Ul\lversal Example, Bb dorian Formula I 2 t,3 4 5 6~ 7 I
Key Key of Bb
Key ofG IG !Ab IA ~B le ~D l%]E IF IF# IG I Universal
Key
G MAJOR SCALE (on treble staff)
TRANSPOSING CHORD PROGRESSIONS
9 l\

11) e l'I
G
I
e IJ
A
2
e II

B
3
C
4
D
5
E
6
F#
7
G
1(8)
Roman numerals (I, IV: V, etc.) are used to indicate major chords built off any scale
degree. Other chords (minor, seventh, etc.) are represented by a Roman numeral
followed by the abbreviation for that chord type (IVm would be a minor chord
with the fourth degree of the major scale as Its root). The Roman numeral system
is used extensively by working musicians for writing chord charts.
Example: Transpose this progression from the key of C to the key of F:
G MAJOR SCALE (on keyboard) C/G7/C/C/Am/D7/G7/C
- © !Db® ~IE IF ~ ~ IBb IB le
I (~r~~n~~k~y)
Key of F
(new key) ® 1Gb ® ~IA IBb U©l½iIDIEb IE IF
• • l. © lbII@ lm1lm Irv I bV@) lbVI l@lbVIIlvnl 1
Universal
- - - Key
G A B C D E Fd G I . Find the letter names of all the chord types in the original progression (C, G, A,
I 2 3 4 5 6 7 I (8) andD).
2.Find the numerals of the Universal Key that correspond to each chord (C = I,
G = V, A= VI, D = IQ, then add the chord type suffix (m, 7, dim., etc.). Written in
the Universal Key, tne progression would be I/V7 /I/I/Vlm/117 /V7 /I. (Varia·
lion: sometimes lower case Roman numerals are used to indicate minor chords
REY SIGNATURES [ex., vi instead ofVlml).
Every key signature describes a major key (capital letters) and its relative minor 3. Find the chords of the new key that correspond to the numerals of the progres-
key (small letters). These scales have the same notes but begin on different tonics. sion. (I = F, V = C, VI = D, II = G).
In a key signature sharps and flats name, by the line or space on which they fall, 4. Write out the progression in the new key, adding the appropriate chord types.
the notes of the C major scale which must be altered to play in the designated key. Progression In keyofF: F/C7 /F/f/Dm /G7 /C7 /F

THE GREAT STAFF

The lines and spaces of the Great Staff take their names from the notes of the
C major scale which fall on them. Notes which are outside the C major scale
are designated by accidentals, sharps(d) raise notes one half step; flats(~)
lower notes one half step; double sharps (X) raise notes a whole step; double
flats (~~) lower notes a whole step; naturals ( ~) cancel the effect of other
accidentals.
j
, "Ill

C H 0 RD AN D sCALE TABLE
The Chord and Scale Table shows how scales harmonize with chords to create sounds used in many styles of music. The table also groups chords and scales accord-
ing to their basic sound: major, minor, or dominant, and it shows which chord/scale combinations are most widely played in specific styles of music. The most
common chords and scales are listed in capital letters.

The numbering system used throughout the table is known as the Universal Key, which is created by substituting numbers for the tones of the major scale [DO = I,
RE= 2, Ml= 3, FA= 4, SO= 5, LA= 6, Tl= 7, DO= I (8)]. (See the Table of Keys.)

CHORD TYPE CHORD FORMULA CHORD SYMBOL SCALE SCALE FORMULA STYLE
(a letter name alone M.IUOR PENTATONIC 1 2 3 5 6 1 folk, bluegrass, blues,
indicates a major or country, rock, pop
M.IUOR 1 3 5 C chord; all chord MINOR PENTATONIC 1 b3 4 5 b7 I rock, blues'
symbols shown in or
Key of C) M.IUOR SCALE I 2 3 4 5 6 7 I classical. pop
major sixth 1 3 5 6 C6 major pentatonic 1 2 3 5 6 1 folk, country, swing ·
M MJUOR SEVENTH 1 3 5 7 Cmaj7. CM7. C67. c~
A major scale 1 2 3 4 5 6 7 1
J major ninth 1 3 5 7 9 C maj 9. CM9. C 69 classical, pop. jazz
0
R six-nine I 3 5 6 9 C69,C6/9 or
add nine 1 3 5 9 Cadd9 I 2 3 #4 5 6 7 1
lydian mode jazz
major thirteenth 1 3 5 7 (9) 13 Cmajl3.Ct::,13
suspended second 1 2 5 Csus2, Cs2 major pentatonic, country, rock,
1 2 3 4 5 6 1 pop. gospel
suspended fourth 1 4 5 Csus4. Cs4 add 4
major seven flat five I 3 b5 7 Cmaj7b5, C.67b5 lydian mode 1 2 3 #4 5 6 7 1 jazz

MINOR I b3 5 Cmin. Cm, C- folk, classical. blues,

minor pentatonic I b3 4 5 b7 1
country, bluegrass
or rock, pop
MINOR SEVENTH I b3 5 b7 Cmin 7, Cm 7. C- 7
DORIAN MODE I 2 b3 4 5 6 b7 I
classical, country.
minor ninth I b3 5 b7 9 Cmin 9. Cm9, C - 9 or
rock, pop, la tin. jazz.blues
AEOLIAN MODE I 2 b3 4 5 b6 b7 1
M minor eleventh I b3 5 b7 (9) 11 classical. pop. jazz
I Cmin 11, Cmll. C-11 (natural minor)
N
0 minor sixth I b3 5 6 Cmin6, Cm6, C-6 rock, pop, jazz
R minor pentatonic I b3 4 5 b7 1
minor six-nine I f3 5 6_ 9 Cm69, Cm6/9 or classical, rock,
minor thirteenth I b3 5 b7 (9) (11) 13 Cmin 13, Cm 13, C- 13 dorian mode I 2 b3 4 5 6 b7 1 pop. la tin, jazz

minor seven flat five

I b3 b5 b7 Cm7b5,C.0" I b2 b 3 4 b 5 b6 ~7 I
(half diminished) locrian mode
pop, jazz
; Cm(maj 7), Cm 6 7.
minor, major seven I b3 5 7 melodic minor 1 2 b3 4 5 6 7 1
Cm(M7), Cmr

classical, folk,
MIXOLYDIAN MODE I 2 3 4 5 6 b7 1
country, rock,
SEVENTH I 3 5 b7 C7 or latin, pop, jazz
minor pentatonic 1 b3 4 5 b7 1
rock, blues
ninth 1 3 5 b7 9 C9, (C7add9)
D rock, pop,
0 eleventh I (3) 5 b7 (9) 11 Cl I mixolydian mode I 2 3 4 5 6 b7 I
M latin, jazz
I thirteenth 1 3 5 b7 (9) (11) 13 C13
N I 3 b5 b7 C7b5, C7-5 mixolydian sharp four I 2 3 /14 5 6 b 7 I
A seven flat five
N seven sharp five 1 3 /15 b7 C7#5, C7 + 5, whole tone I 2 3 b5 /15 b7 I
T
(augmented seventh) Caug7, C+7 diminisl'led/whole tone 1 b2 b3 3 b5 #5 b7 I
seven flat nine 1 3 5 b7 ~9 C7b9, C7 - 9 half-whole/ diminished I b2 b3 3 b5 5 6 b7 I pop, jazz
seven sharp nine I 3 5 b7 /19 C7#9, C7 +9 diminished/whole tone 1 b2 b3 3 b5 /15 b7 1
any combination of 7 b5 b9, 7 b5.d9
diminished/whole tone I b2 b3 3 b5 115 b7 1
the above 4_ chords 7/15b9, 7 #5/19,

whole tone scale I 2 3 b5 /15 b 7 I

M augmented I 3 /15 Caug, C +
I diminished-whole tone 1 b2 b3 3 b5 /15 b7 1
s diminished I ~3 b5 Cdim, c 0
half-whole diminished I b2 b3 3 b 5 5 6 b7 I
pop, jazz
C
diminished seven I b3 b5 b'7 Cdim7, C0 7 whole-half diminished I 2 b3 4 b5 /15 bb 7 7 I

'blues scale ~ I b3 4 b5 5 ~7 I harmonic minor= 1 2 b3 4 5 b6 7 I phrygian mode = I b2 b3 4 5 b 6 b7 I

"'- ...i

Copyright 1983 All Rights Reserved

CASTALIA PUBLICATIONS P.O. Box 2503, Petaluma, CA 94953
(

HOW IT WORKS
This example shows that a major chord consists of the
!st, 3rd, and 5th tones of the major scale, and that the CHORD TYPE CHORD JIOUIULA CHORD SYIIBOL SCALE SCALE JIOUIULA STYLE
common symbol for the C major chord is simply C (let- (1 letter name •lone IIA,JOI PUTATOJIJC I 2 3 5 6 I folk, blucitrau, blues,
ter name alone indicates a major chord). It also shows lndlcatuam1Jor o, country, rock, pop
IIJ\JOR I 3 5 C chord; 111 chord lllll'OI PUTATOJIJC I 1,3·4 5 b7 I
three different scales, each of which harmonizes with symbols 1hown In
tl:cyofC) o, rock, bluet'
the major chord in specific styles of music listed in the IIJIJORSCAUI 12345671 claulcal. pop
column on the right.

CHORD FAMILIES CHORDS: ARRANGEMENT AND IMPROVISATION

The Chord and Scale Table groups chords and scales into three basic families,
major, minor, and dominant. · in progressions, but how to vary each chord within a progression.
Almost all chords contain a root (I) and a fifth (5). The characteristics of the 3rd
and 7th tones give each chord family its unique flavor.
M.AJOR CHORDS and SCALES are generally characterized by having a major
third (3), and in thecase of seventh and extended chords, a major seventh (7).
MINOR CHORDS and SCALES all contain the minor third ( b3), and minor seventh
and extended chords contain the flat seven ( b7).
DOMINANT CHORDS all contain the major third (3) and the flat seven ( b 7).
OTHER CHORDS, AUGMENTED CHORDS belong, in a sense, to the dominant
family (see seven sharp five). DIMINISHED CHORDS are often used as dominant
chords (seven flat nine with the root omitted is identical to a diminished seventh).
CHORD VOICING, By definition, a chord contains three or more tones. Chords
which have four or more notes often sound better when not all the notes are
played. Notes which are often omitted are shown on the table in parentheses. The
root and the fifth are also sometimes left out of chord voicings. Because the 3rd
and the 7th give each chord family its own unique flavor, they are almost never
omitted in seventh and extended voicings.
In almost all styles of music it is useful to understand not only how chords move
MAJOR and MINOR CHORDS can be varied by suspension. This is particularly
useful where seventh and extended chords would be inappropriate, such as in
many rock and country songs.
Example,
Progression, I G III I D I I I I C I I I I G III I
Variation, I G I I I I Dsus4 I DI I C I Csus2 I I G I I I I
SEVENTH and EXTENDED CHORDS can be varied by substitution, i.e., using
another chord with a somewhat similar sound in place of the original chord. By
substituting chords from the same family, a progression can be given different
tonal colors while retaining its basic movement. (The degree of simplicity or com-
plexity in an arrangement is strictly a matter of personal taste.)
In the following example a progression is rearranged by substituting chords from
the appropriate chord families.
Progression, I F I I I / .Cm I F7 I I Bb I I I I Bbm I I I I
Variation # I: I FM7 I I I I Cm 7 I F9 I I BliM7 I I I / Bbm 7 I I I /
Variation #2, I FM9 I I I I Cm! I I F7b5 I/ mM9 I I I / Bbm9 I I I I

SCALES: MELqDY AND IMPROVISATION OVER CHORDS:

In order to play melodic lines successfully over the chords in a progression, it is important to understand the structure of chords and scales, and how their sounds
interact. .Scales played over a chord will almost always contain the chord tones, which provide points of resolution for the melodic line.

ONE-SCALE PROGRESSIONS, Many progressions are made up of chords whose
notes are all derived from one scale.
Example, I G I I I / Em I I I / C I I I / D I I I /, etc.
All of the notes in these chords occur naturally in the key of G; therefore, the G
major scale or the G major pentatonic scale will work well over all the chords in
the progression. (Emphasis can be placed on the tones of each chord as it occurs;
for example, during the E minor, the melodic player can emphasize the notes E, G
and B.) It would also be possible to use different scales over each chord in the pro-
gression (example, G major pentatonic I E minor pentatonic I C major pentatonic I
D major pentatonic I ).
PROGRESSIONS WITH MORE THAN ONE SCALE, When a chord contains notes
outside the key of the progression, the melodic player must change scales to fit the
notes of that chord. :
Example, I G I I I / B7 I I I / Em I I I / C I Cm I /, etc.
By examining the notes in each chord we find that both the B7 and Cm con-
tain notes which are not in G major (D. in the B7 chord, Et, in the Cm chord). To
avoid "wrong notes," the player should use different scales for each of these
chords, B mixolydian will work over B7, and C minor pentatonic or C dorian will
work over C minor. Many soloists use a different scale for almost every chord in a
progression.

COMMON CHORDS AND SCALES

Many songs in almost any style (exceptjazz and jazz-influenced pop) can be played using only these five chords and six scales. Because most other chords and
scales are variations of these common forms, learning them will help a musician play chords and solos in a wide variety of songs.

CHORD TYPE CHORD FORMULA CHORD SYMBOL SCALE SCALE FORMULA STYLE
M.I\JOR PENTATONIC 1 2 3 5 6 1 folk, bluegrass, blues.
or country, rock, pop
M.l\)'OR 1 3 5 C MINOR PENTATONIC 1 b3 4 5 b7 1 rock, blues"
or
M.l\)'ORSCALE 1 2 3 4 5 6 7 1 classical, pop

M.l\)'OR SEVENTH 1 3 5 7 C maj 7, CM7, C 67, n MAJOR SCALE 1 2 3 4 5 6 7 1 classical. pop, jazz

MINOR PENTATONIC I b3 4 5 b? 1 folk, classical, blues,

MINOR I b3 5 Cmin, Cm, C- country, bluegrass,
or rock, pop
DORIAN MODE 1 2 b3 4 5 6 b7 1
classical, country,
or
rock, pop, la tin, jazz, blues
MINOR SEVENTH I b3 5 b7 Cmin 7, Cm?, C - 7 AEOLIAN MODE 1 2 b3 4 5 b6 b? 1
(natural minor) classical. pop, jazz

classical. folk,
MIXOLYDIAN MODE 1 2 3 4 5 6 b? 1
country, rock,
SEVENTH 1 3 5 b7 C7 or latin, pop, jazz
MINOR PENTATONIC 1 b3 4 5 b? 1
rock, blues

..
~