Circle of Minor Keys

Looking back at my last post and reflecting on some of my reader's comments, 
I wanted to do a follow up post regarding minor keys. I had posted a song on YouTube, Winter Sonata, and had used mostly broken chords (arpeggios.) I use this style of playing in Classical music, romantic songs, sometimes new age music and especially for endings that seem to close out a particular song. I'm talking about rolling the chord, whether ascending or descending.


The Circle of Minor Keys

We have studied together and looked at the "circle of 4ths and the "circle of 5ths" before. Many folks are not familiar with the minor circle but it works pretty much the same ways as the circle of major keys but with one exception.


When you're trying to figure out the 3 chords to any key, look to the left and right of the circle but keep in mind that most songs written in the western hemisphere use the harmonic scale instead of the natural minor scale. The chord to the left is usually a major chord instead of a minor chord.


Here's an example. In the Key of Am, the 3 most likely chords would be Am, Dm and E Major, not E minor. Another way to say it, i is minor chord, iv is a minor chord and the V chord is Major. Now that you are learning what chords move up a 4th or 5th or down a 4th or 5th, you'll quickly recognize what the key of the song is and what chords are most likely in the song. So, memorize the Circle of Minor Keys.


It's the inner circle I'm focusing on in this lesson.


Am


Dm


Gm


Cm


Fm


Bbm


Ebm


Abm


Dbm


Gbm


Bm


Em


Practice playing in the minor key signatures and then switching back and forth to its
relative Major Key.


Let's talk a bit about minor keys and the bass notes. For example, the C Harmonic 
Minor Scale is C, D, Eb, F, G, Ab, B, C.


If the bass note is C, the most common chord is Cm. Other possibilities would be, the iv chord with its fifth in the bass (Fm/C). For more info, visit Minor Keys

Here are the chords to Pirates of the Caribbean:  

Dm Bb Am Dm
Bb F C Dm
Dm Gm Am Dm
Bb Dm A A7

Dm Bb Am Dm
Bb F C Dm
Dm Gm Am Dm
Bb Dm A
Dm C Bb A
Gm A

Dm C Dm 
Dm C D

Dm C F Bb
F Am Dm Dm
Dm C F Bb
Gm Am A

Dm Bb F C 
Gm Am Am Dm 

Chords 101 and 102 Collection






"The beautiful thing about learning is that no one can take it away from you." B.B.King

What If There Isn't A Transpose Button?

Suppose you're the new keyboard player in the band. This rock band just hired you and welcomed you aboard. Now, you're going to your first gig tonight. You arrive excitedly, greet the other musicians and begin to look over the music set. Most of the songs you do know but there's a few complex ones that change keys several times. No worries because your keyboard has a transpose button so you will just press it a few times. On this special night you soon discover that there isn't a transpose button. Now what are you going to do?

If you have found yourself in this same scenario as I have before, you are faced with a few choices.

1. Learn how to modulate; change keys within the song.
2. Play the first song in the original key. Lay out on the chord that sets up the next key. Jump back in with the new key.
3. Just play through the song once and lay out all together while the rest of the musicians play.

The chances of you actually performing at a live gig, playing a fast, lively song that changes keys several times, like the ones by Israel Houghton and then reaching for the transpose button and clicking away, yet remaining in the groove can cause a train wreck and mess up the other musicians.
The answers to learning how to modulate on your own can be found in learning the Circle of Fifths and using the Number System. Here are a few tips to help you on your way to transposition or simply stated, moving a piece of music from one key to another.

1. Know the scale of the original key.
2. Number each note of the melody by the numbers of the scale.
3. Review the scale of the new key, finding the numbers (degrees) associated with the notes and reconstruct the melody.

The same formula is true with transposing a chord progression. Let's say the original key is C Major and we're playing I chord (C) and the IV chord F. The singer chooses to modulate to the Key of Eb to fit her voice range better and cause a dynamic move in the song. With the same previous steps for changing the melody line, we will now apply to the new key. In the Key of Eb, we play I chord (Eb) and the IV chord (Ab).

Going back to our opening scenario, you will need to know HOW to arrive at the new key and that is called Modulation. Forget that button on your keyboard and discover the solution by learning these easy steps.

To begin, let's say we are starting in the Key of F and we want to move up a half step. Here's what you need to know.

1. A dominant chord is built on the fifth degree of the scale.
2. The most direct movement is from the dominant chord to the tonic chord.
3. This is known as the V-I progression.
4. A dominant seventh chord may also be used, and this is called a V7-I progression.

Now you're ready for your new gig. It's a new day. The band starts a particular song in the Key of F Major. Now to move to F# Major, you are playing the dominant chord (V) of the New Key to set up the new change and that chord would be C# and you begin anew in the key of F# with I chord. Congratulations "smooth modulator."

"The beautiful thing about learning is that no one can take it away from you." B.B.King

Order of Sharps and Flats on the Staff

Image via Wikipedia The accidentals of the key signatures are placed on the staff in the same order of appearance as in the circle of fifths. For sharp keys the first sharp appears on the F line (5th line, counting from bottom to top line) of the treble clef and on 4th line (counting bottom to top) of the bass clef.

This sharp applies to any F in the musical composition whether on the same lines or on any other locations, and this same principle is observed for any other sharps (or flats) of the key signature. The sharps progress in an orderly arrangement from left to right. For quick identification of a major key in a signature of sharps, the keynote occupies that staff degree immediately above the last sharp.

C Major and Sharp Key Signatures

Key of C = no sharps and flats
Key of G = 1 sharp (F#)
Key of D = 2 sharps (F#, C#)
Key of A = 3 sharps (F#, C#, G#)
Key of E = 4 sharps (F#, C#, G#, D#)
Key of B = 5 sharps (F#, C#, G#, D#, A#)
Key of F# = 6 sharps (F#, C#, G#, D#, A#, B#)

For quick identification of a major key in a signature of two or more flats, the keynote is identical with the penultimate (next-to-last) flat.

C Major and Flat Key Signatures

Key of C = no sharps or flats
Key of F = 1 flat (Bb)
Key of Bb = 2 flats (Bb, Eb)
Key of Eb = 3 flats (Bb, Eb, Ab)
Key of Ab = 4 flats (Bb, Eb, Ab, Db)
Key of Db = 5 flats (Bb, Eb, Ab, Db, Gb)
Key of Gb = 6 flats (Bb, Eb, Ab, Db, Gb, Cb)
Key of Cb = 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb)

The key signature may now be used to identify the key. When it is known that the music is in a major key, the number of sharps or flats in the signature will indicate the name of that major key. For example, when the key is major, four sharps always indicates the key of E.

Exercise: Constructing the Circle of Fifths for Major Keys

Construct from memory the circle of fifths for major keys. You should be able to draw the circle on paper or at the board in one minute.

Exercise: Write the correct major key name according to the number of sharps or flats given.

Exercise: Write the correct number of sharps or flats for the given major key.

Much music commonly performed today (including most music of the 17th-19th centuries) is based on either one of two scale patterns: the major scale and the minor scale. Music is said to be in major when the pitches used can be arranged in alphabetical order with a resulting major scale pattern.

In Joy to the World, the first line of the melody already assumes the pattern of the D Major Scale.

Here's the melody line of the right hand:

(D, C#, B,A, G, F#, E, D)


Joy to the World in Bb Major Scale


(Bb, A, G, F, Eb, D, C, Bb)

So, the key signature is a group of accidentals found on the staff at the beginning of a composition. This group consists of the accidentals used in the scale of the composition and when the music uses a major or minor scale, the signature can be used to identify the key of the composition. the key signature is placed before the time signature.

By extracting the accidentals from each major scale in this way, we can find the number and names of sharps  or flats for each major key, and the key signature for each. Remember that including C (no sharps and no flats), there are fifteen major keys, just as there are fifteen locations of the major scale.

A common way of illustrating the order of key signatures, with the numbers of accidentals in each, is through the circle of fifths. (our previous lesson)


If you can read simple treble-clef melody notes,
you can play your favorite popular songs using
"Play Piano With Fake Book" system.

Master the following:
*Can't Help Falling In Love
*Smoke Gets In Your Eye
*Never on Sunday
*Edelweiss
*Chariots of Fire and more
Using "Play Piano With Fake Book"





Best,
-- LadyD




"The beautiful thing about learning is that no one can take it away from you." B.B.King

Related articles

• Success In All Keys- an innovative approach to learning key signatures (davidvaldez.blogspot.com)
• Bass Clef Land (lindseydipinzi.wordpress.com)

Lessons on The Circle of Fifths

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Over the years of playing with many talented musicians, they have shared their tips and tricks with me and I am extremely appreciative. With heartfelt thanks, I am grateful for the knowledge of the Circle of Fifths. Whether you are just beginning to play the piano or you are a seasoned musician, learning the theory behind the Circle of Fifths is an extremely important and valuable tool to have.

Here's a short article from a friend over at HearandPlay, Jermaine Griggs' site for piano and keyboard musicians.

The Circle of Fifths Secrets Revealed

"Often times when one refers to the Circle of Fifths we think about Scales but today I would like to expose some secrets in the Circle of Fifths.

First, we already know that each note in the scale has a number position when we refer to intervals. So in C Major, from C-C would count 1 2 3 4 5 6 7 8 for the scale.
C Major = C D E F G A B C. These interval number positions we use when talking about progressions so when we talk about a 1 we mean C and a four means F etc. When you look carefully at the circle of fifths you would see that starting from B going forward up to C major you would have found the 7 3 6 2 5 1 progression for C Major.

Its important to note that in the circle if you count six spaces forward from any letter position you would find the 7 3 6 2 5 1 progression. Therefore the circle shows you the progression for all the Major scales.

If you should take a further look you will see the 5 1 4 progression. So if you want to find the progression of the major scale just find the note and the 5 will be on your right and the four on the left of the scale you are in. E.g. C Major 5 1 4 progression would be, 5 = G on the right of the circle, 1 in the middle and 4 on the left of the scale you are in.

To find the progression #4 7 3 6 2 5 1 progression just count seven spaces forward going to the right of the scale you want to find it in and the #4 would be the seven letter found. E.G."
Article by Jamaican-Music 

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My understanding of the Circle of Fifths is that you must first be able to measure the interval of a perfect fifth. A perfect fifth spans five staff degrees and is comprised  of three whole-steps, and one half-step, or seven half-steps. rather than counting steps, a perfect fifth can be calculated more quickly by using information already learned in connection with the scale, the note from which the measurement is to be made as tonic. From a tonic note up to its dominant note is an ascending perfect fifth.

It is through the interval of the perfect fifth that keys are related to each other. Starting with C, we count up a perfect fifth to find the keynote G for the scale with one sharp; we count up a perfect fifth from G to find the keynote D for the scale with two sharps, and so on until we reach C# with seven sharps.

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The flat keys are related in a similar manner. Starting with C, we count down a perfect a perfect fifth  to find the keynote F for the scale with one flat; we count down a perfect fifth from F to find the keynote Bb for the scale of two flats, and so on until we reach Cb, with seven flats. From the Circle of Fifth images you can see that each progression up a fifth adds one new sharp, and each progression down by fifth adds one new flat.

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the key names used for 5, 6, and 7 sharps have enharmonic equivalents in the names for keys 5, 6, and 7 flats: B (5 sharps) and Cb (7 flats); F# (6 sharps) and Gb (6 flats); C# (7 sharps) and Db (5 flats). so now the circle of fifths for major keys is produced.

Free Photo Image

This circle includes all the major key names with the sharp keys reading clock-wise from C, and the flat keys reading counterclockwise from C. The circle is joined by the three enharmonic keys. The number of sharps or flats for each key can be determined by counting the number of fifths away from C.

Free Photo Image

For example, A has three sharps because it is the third key clockwise from C; Db has 5 flats because it is five keys counterclockwise from C. The circle also indicates the order of sharps and flats on the staff.
More on that next time.

I am truly grateful for all of my readers. Wishing you a very Happy Thanksgiving! Doesn't the circle remind you of pie? Do you have a favorite? Have fun with this course lesson learning the musician's pie, the circle of fifths.
Play Piano By Ear Home Study Course

Blessings,
-- LadyD

"The beautiful thing about learning is that no one can take it away from you." B.B.King

Piano Patterns: Do You See Them?

Image via Wikipedia

When you are sitting at your keyboard or piano, do you see patterns on those keys? Here's what I mean:
1. Chromatically the notes from C to E are the mirror image of the notes from F# to B flat with F and B natural left out. If you number those notes from 1 to 5 in each pattern, the same number in each pattern is the Tri-tone. C = 1, F# = 1....tri tone.  Use this visual to find  tritone substitutions.
2. Take the first five notes of the major scale. These keys are mirror images of each other:
D flat and D
E flat and E
F and F#
A flat and A
B flat and B
3. Remember the tri-tone(s) B-F and F-B because it is the only tri-tone(s) with two white notes. All the others have one black and one white note as in your first pattern.
4. When you look at the circle of fifths, you notice that all the black notes are consecutive: Bb-Eb-Ab-Db-Gb, which you can use to help remember the circle. Try to think about why all the black notes would be consecutive in this circle. What you see is that the circle of fifths consists of the two whole tone scales alternated:
C - Bb - Ab - Gb - E - D
F - Eb - Db - B - A - G
It seems to be easier for me to always think of the circle of fifths in the counter-clockwise direction. Normally I am thinking of the dominant to tonic direction so that is why it seems more natural in this direction. If you learn the circle in this direction, it also gives you the ii-V-I sequence starting from any position as the ii chord. Or you can start two positions earlier and it gives you a iii-vi-ii-V-I turnaround sequence.
Within the circle of fifths the pattern B-E-A-D-G is repeated, first with all flats, then with all naturals, then you just have to add C & F and you have the whole circle (that's how I remember it). It also helps that the first four letters of that sequence spells a word. Once you know the circle and can picture it like the numbers on a clock as it is most often represented, you can look at the position directly opposite to get the tritone interval e.g. if C is at 12 O'clock, look at 6 O'clock to get its tritone interval.
5. Also, let us take the pentatonic scale 1, b3, 4, 5, b7. These keys are the mirror image as far as black key white key notes.
C and Db
D and Eb (E and A are the same as D)
F and F#
G and Ab
Bb and B natural
All the best,
LadyD
Charlie Parker once said "Learn the changes and then forget them."

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Teaching The Two-Sided Tritone

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Teaching piano lessons also includes understanding the tritone. Many keyboardists are comfortable with simple triads and seventh chords. Others find it difficult when it comes to more sophisticated, jazzy harmony in contemporary music. Where do these sounds come from and how can they be used? Here's a way to think about these sounds and a simple technique you can use to spruce up any harmony with them.


Let's begin with one of the most basic chord progressions in both pop and classical music: V7 - I. In the Key of F, this would represent a C7 chord moving to an F chord. Are you familiar with this progression? There is no question that it "works." Many people are not aware of why it "works." The answer is "voice-leading." The notes of the C7 chord move smoothly to the notes of the F chord.


The two notes in the C7 chord which form the interval of a tritone: Bb and E.


The tritone is a very jazzy but unstable interval, and in the C7 - F progression, it finds stability by moving outward - the Bb down to A (the third in the F chord), and the E up to F. This resolution is pleasing, and it gives the progression a strength and inevitability. (BbE to FA)


The same two notes, called by the names A# and E, occur in the F#7 chord, which is the V7 of B. Here, the notes of the tritone move inward to find their resolution in the notes of the B chord. 
(A#E to BD#)


The fact that our tritone interval can lead strongly in either direction makes possible the art of chord substitution; contemporary players often substitute the F# for C7 and vice versa. (These chords lie opposite each other on the "circle of fifths."


Musicians can make use of the two-sided tritone to add new flavors to old chord progressions. Suppose you were faced with the progression F#7 to B7. Remember, that interval of A# and E can move outward as well as inward. Here the base line moves from F# to B, but the tritone in the right hand acts as if we were playing C7 to F. We have purposely confused the harmonic movement, taking advantage  of the vagueness of the tritone. (F#/ A#E to B/ AF)


Try playing a whole circle of fifths, using this concept. If you keep in  mind the idea that each hand is capable of "voice-leading" in its own direction. the result can be refreshing and quite beautiful. To start off, here is a sample using C7 - F7 - Bb7 :
C/BbE to B/AEbF then Bb/AbDG

Piano Lessons - Learn Tritones Phatten Up Your Gospel Chords - GospelMusicians.com

On teaching piano lessons for intermediate and advanced players, I have found this great music dvd piano instruction on tritones.
 

All the best,

LadyD

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Learn the Circle of Fifths- Patterns

The Circle of Fifths, is a concept used by jazz musicians to practice playing ii, V, I chord patterns in all keys. It’s called the circle of fifths because you will come full circle back to where you started. The root moves down in fifths and up in fourths, or up in fourths and down in fifths around a circle. In the right hand you play the 3rd and 7th (or 6th) of the chord. The left hand plays the root or 1 chord tone. It’s best to play the left hand root an octave below the right hand 3, 7th voicing.. Also you can play the root(1) and the seventh(7th) in the left hand for a more fuller sound. The third and seventh determine the chord type. Whether it is major, minor, or dominate. This method allows the jazz musician to play a melody on top of the 3, and 7 or 7, and 3, in the right hand. Check out Jazz Open Voicings for Keyboards by Dick Grove for more information.

I get so many requests on the Circle of Fifths and I can understand why because it is like a musician's bible. Once you begin to see the importance of the circle, you'll be free to play and not locked in to sheet music. The circle is a very good way to learn your chords and scales... so here goes. Total reading time on this blog post 10 mins.

* CIRCLE OF 5THS

C7 introduces F
F7 introduces Bb
Bb introduces Eb
Eb introduces Ab
Ab introduces Db
Db aka C# introduces F#
F# introduces B
B introduces E
E introduces A
A introduces D
D introduces G
and G introduces C making a circle back to C

* In this lesson you learn how to play open position chords around the circle of fifths while improvising melody in the right hand.

http://www.quiescencemusic.com



* The circle of 5ths tells you how many sharps or flats are in each key. Moving clockwise (right), the notes move in 5ths. Moving counter-clockwise (left), the notes move in 4ths. I can't show you a circle, but I can put it in a form that illustrates this, u can try to draw it if you want to:

C = 0 sharps or flats (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B/Cb = 5 sharps; F#, C#, G#, D#, A# (5 o'clock) / 7 flats; Bb, Eb, Ab, Db, Gb, Cb, Fb
F#/Gb = 6 sharps; F#, C#, G#, D#, A#, E# / 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)
Db/C# = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock) / 7 sharps; F#, C#, G#, D#, A#, E#, B#
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
F = 1 flat; Bb (11 o'clock)

The keys C# and Cb aren't usually present in the circle (i just added them there), but there is a reason why. Notice that the circle starts with C, having no sharps or flats. Now, the key of C# has everything being sharped, and the Cb has everything being flatted. So, what you can do is make a separate circle for the sharps, and a separate circle for the flats, and it could go on forever. I'll show you a little of each:

Sharps Circle

C = 0 sharps (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B = 5 sharps; F#, C#, G#, D#, A# (5 o'clock)
F#= 6 sharps; F#, C#, G#, D#, A#, E#

C# = 7 sharps / all sharps; F#, C#, G#, D#, A#, E#, B# (12 o'clock)
G = 1 double sharp; F## (1 o'clock)
D = 2 double sharps; F##, C## (2 o'clock)
A = 3 double sharps; F##, C##, G## (3 o'clock)
etc.

Flats Circle

C = 0 flats (12 o'clock)
F = 1 flat; Bb (11 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Db = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock)
Gb = 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)

C = 7 flats / all flats; (12 o'clock)
F = 1 double flat; Bbb (11 o'clock)
Bb = 2 double flats; Bbb, Ebb (10 o'clock)
Eb = 3 double flats; Bbb, Ebb, Abb (9 o'clock)
The circle of 5ths tells you how many sharps or flats are in each key. Moving clockwise (right), the notes move in 5ths. Moving counter-clockwise (left), the notes move in 4ths. I can't show you a circle, but I can put it in a form that illustrates this, u can try to draw it if you want to:

C = 0 sharps or flats (12 o'clock)
G = 1 sharp; F# (1 o'clock)
D = 2 sharps; F#, C# (2 o'clock)
A = 3 sharps; F#, C#, G# (3 o'clock)
E = 4 sharps; F#, C#, G#, D# (4 o'clock)
B/Cb = 5 sharps; F#, C#, G#, D#, A# (5 o'clock) / 7 flats; Bb, Eb, Ab, Db, Gb, Cb, Fb
F#/Gb = 6 sharps; F#, C#, G#, D#, A#, E# / 6 flats; Bb, Eb, Ab, Db, Gb, Cb (6 o'clock)
Db/C# = 5 flats; Bb, Eb, Ab, Db, Gb (7 o'clock) / 7 sharps; F#, C#, G#, D#, A#, E#, B#
Ab = 4 flats; Bb, Eb, Ab, Db (8 o'clock)
Eb = 3 flats; Bb, Eb, Ab (9 o'clock)
Bb = 2 flats; Bb, Eb (10 o'clock)
F = 1 flat; Bb (11 o'clock)

* musictheoryguy:
Once you have a circle of fifths you can use it to calculate how many sharps or flats are in a key signature. Watch this video to help you use your circle of fifths for the major keys.




The circle of 5ths is used to show how many sharps or flats are in each key. It is like a clock. You start at the top with C that has no sharps or flats. Then you move clockwise (to the right) to G, which has 1 sharp, then to D, which has 2 sharps, then to A, which has 3 sharps, then to E, which has 4 sharps, then to B, which has 5 shaprs, then to F#, which has 6 sharps, then to C#, which has 7 sharps. From there, you switch to flats with Cb, which has 7 flats, then to Gb, which has 6 flats, then to Db which has 5 flats, then to Ab, which has 4 flats, then to Eb, which has 3 flats, then to Bb, which has 2 flats, then to F, which has 1 flat, then you are back at C. Here is an illustration:

C = 0 sharps or flats
G = 1 sharp (F#)
D = 2 sharps (F#, C#)
A = 3 sharps (F#, C#, G#)
E = 4 sharps (F#, C#, G#, D#)
B = 5 sharps (F#, C#, G#, D#, A#)
F# = 6 sharps (F#, C#, G#, D#, A#, E#)
C# = 7 shaprs (F#, C#, G#, D#, A#, E#, B#)
(switch)
Cb = 7 flats (Bb, Eb, Ab, Db, Gb, Cb, Fb)
Gb = 6 flats (Bb, Eb, Ab, Db, Gb, Cb)
Db = 5 flats (Bb, Eb, Ab, Db, Gb)
Ab = 4 flats (Bb, Eb, Ab, Db)
Eb = 3 flats (Bb, Eb, Ab)
Bb = 2 flats (Bb, Eb)
F = 1 flat (Bb)
C = 0 sharps or flats

* The circle of 4ths is where your progressions come from. In other words, it has solely to do with bass/LH notes. To me, that is the only significance of it. Just take the circle of 5ths and read it backwards.

See what I mean by keys and note? Circle of 5ths is for keys and circle of 4ths is for notes.

To get chords, you use the bass notes to come up with chords. How? Well, you can start by taking a bass note and writing down all the possible chords that could go with that note, that are associated to the key you are in. I will be back later to better explain how to figure out chords and stuff.








Key: Signature LH=Root(1) RH= 3rd, 7th Pattern Chord

1: C: D F, C 2 Dmi7
G F, B 5 G7
C E, B 1 Cmaj7


2: F; b G Bb, F 2 Gmi7
C Bb, E 5 C7
F A, E 1 Fmaj7

3: Bb bb C, Eb, Bb 2 Cmi7
F, Eb, A 5 F7
Bb D A 1 Bbmaj7

4: Eb bbb F Ab, Eb 2 Fmi7
Bb Ab, D 5 Bb7
Eb G D 1 Ebmaj7

5: Ab bbbb Bb Db, Ab 2 Bbmi7
Eb Db G 5 Eb7
Ab C G 1 Abmaj7

6: Db bbbbb Eb Gb Db 2 Ebmi7
Ab Gb C 5 Ab7
Db F C 1 Dbmaj7

7. Gb bbbbbb Ab B Gb 2 Abmi7
Db B F 5 Db7
Gb Bb F 1 Gbmaj7

8. F# ###### G# B F# 2 G#mi7
C# B F 5 C#7
F# A# F 1 F#maj7

9. B ##### C# E B 2 C#mi7
F# E A# 5 F#7
B D# A# 1 Bmaj7

10. E #### F# A E 2 F#mi7
B A D# 5 B7
E G# D# 1 Emaj7



11. A ### B D A 2 Bmi7
E D G# 5 E7
A C# G# 1 Amaj7

12. D ## E G D 2 Emi7
A G C# 5 A7
D F# C# 1 Dmaj7

13. G # A C G 2 Ami7
D C F# 5 D7
G B F# 1 Gmaj7


14. C D F C 2 Dmi7
G F B 5 G7
C E B 1 Cmaj7







I'll be on vacation for awhile. I won't be gone long. Enjoy your summer and keep practicing! I'd love to hear from you. Stop by and let me know how things are going with your piano playing!

All the best,
~ LadyD

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Key Signatures and Their Games

Key signatures designate notes that are to be played one semitone lower or higher and consist of a series of sharp or flat symbols. Normally, they appear directly after the cleft sign.

The major key signatures are as follows:
G major with one sharp, D major with 2 sharps, A major with 3 sharps, E major with four sharps, B major with five sharps, F sharp major with six sharps, C sharp major with seven sharps, F major with one flat, B flat major with two flats, E flat major with three flats, A flat major with four flats, D flat major with 5 flats, G flat major with six flats, C flat major with seven flats.

The minor key signatures are the key of a minor with no sharps or flats, the key of e minor with one sharp, the key of b minor with two sharps, the key of f sharp minor with three sharps, the key of c sharp minor with four sharps, the key of g sharp minor with five sharps, the key of d sharp minor with six sharps, the key of a sharp minor with seven sharps, the key of d minor with one flat, the key of g minor with two flats, the key of c minor with three flats, the key of f minor with four flats, the key of b flat minor with five flats, the key of e flat minor with six flats, the key of a minor flat with seven flats.

* Identify The Key Signatures

A game that will ask you the Major Key Signatures and what's the relative Minor?


http://www.emusictheory.com/practice/keySignatures.html

* Key Trainer

A game on Ricci Adams' site


http://www.musictheory.net/trainers/html/id83_en.html

* Key Signatures Construction

Add sharps or flats to form the correct key signature


http://www.teoria.com/exercises/kc.htm

* Key Signatures Identification

Identify the key signature you see


http://www.teoria.com/exercises/ki.htm

* Theory Center- Key Signatures

Worksheets to help drill key signatures


http://www.practicespot.com/theorycenter.phtml?cat=8

* Identify the Key Signature

Multiple Choice Exercise


http://www.musictechteacher.com/quiz_identifykey001.htm

* Learn the Secrets to the Circle of Fifths


http://www.jamesmstevens.com/circleonthecircle.html

* Musical Key Signature Sugar Packets


http://www.flickr.com/photos/sugarpacketchad/626579724


http://www.LadyDpiano.com