How to know chords in a particular key?
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KonKossKang
Ozagas
Band actually made some down to the bones of the chord information in the stickies.
Yumid
New member
Hooktheory - Music theory, songwriting software, and popular song analyses.
OR
Gm-Adim-Bb-Cm-Dm-Eb-F
and while I'm typing, some random things to keep in mind when making chord progressions. Dont stress about the rules but just some very entry level stuff to keep in mind-
-The 5 chord wants to resolve to the 1, especially when you add a flattened 7th.
-The 6 can be a nice substitute for the 1 chord to experiment with,
-The 7 can also be nice way to go into the one
-Try going from 5 to 6 instead of 5-1 then eventually going back to 1. Just a nice variation and way of teasing when they expect the 1
-Try to avoid using the 2 chord in dance music but experimenting never hurt.
-you can turn the 2 chord into a major acting as a...subdominant I think? I dont get to caught up in terms I just know its worth playing around with turning the 2 into a major.
-sus chords can be a nice way of creating little 'chord progressions' or movement within chord progressions by moving around on that chord then eventually resolving back to the original chord before going onto the next bar of the actual progression. Common in dance progressions.
And there are more, these are just things to keep in mind. Just some basic ones that came to my head.
OR
Gm-Adim-Bb-Cm-Dm-Eb-F
and while I'm typing, some random things to keep in mind when making chord progressions. Dont stress about the rules but just some very entry level stuff to keep in mind-
-The 5 chord wants to resolve to the 1, especially when you add a flattened 7th.
-The 6 can be a nice substitute for the 1 chord to experiment with,
-The 7 can also be nice way to go into the one
-Try going from 5 to 6 instead of 5-1 then eventually going back to 1. Just a nice variation and way of teasing when they expect the 1
-Try to avoid using the 2 chord in dance music but experimenting never hurt.
-you can turn the 2 chord into a major acting as a...subdominant I think? I dont get to caught up in terms I just know its worth playing around with turning the 2 into a major.
-sus chords can be a nice way of creating little 'chord progressions' or movement within chord progressions by moving around on that chord then eventually resolving back to the original chord before going onto the next bar of the actual progression. Common in dance progressions.
And there are more, these are just things to keep in mind. Just some basic ones that came to my head.
Last edited:
bandcoach
Zukatoku - Mod Scientist
see this sticky
https://www.futureproducers.com/for...ng-charts-collection-different-chords-425917/
and finding the actual post that contains the following is going to take as much time as it will to write it out again
will also post the above table as a sticky
https://www.futureproducers.com/for...ng-charts-collection-different-chords-425917/
and finding the actual post that contains the following is going to take as much time as it will to write it out again
| Major Keys | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| Sharp keys | Chords | ||||||||
| Name | Key signature | Notes | I | ii | iii | IV | V | vi | viib5 |
| C | 0 | C-D-E-F-G-A-B-C | C | Dm | Em | F | G | Am | Bmb5 |
| G | 1# | G-A-B-C-D-E-F#-G | G | Am | Bm | C | D | Em | F#mb5 |
| D | 2# | D-E-F#-G-A-B-C#-D | D | Em | F#m | G | A | Bm | C#mb5 |
| A | 3# | A-B-C#-D-E-F#-G#-A | A | Bm | C#m | D | E | F#m | G#mb5 |
| E | 4# | E-F#-G#-A-B-C#-D#-E | E | F#m | G#m | A | B | C#m | D#mb5 |
| B | 5# | B-C#-D#-E-F#-G#-A#-B | B | C#m | D#m | E | F# | G#m | A#mb5 |
| F# | 6# | F#-G#-A#-B-C#-D#-E#-F# | F# | G#m | A#m | B | C# | D#m | E#mb5 |
| C# | 7# | C#-D#-E#-F#-G#-A#-B#-C# | C# | D#m | E#m | F# | G# | A#m | B#mb5 |
| Flat Keys | Chords | ||||||||
| Name | Key signature | Notes | I | ii | iii | IV | V | vi | viib5 |
| C | 0 | C-D-E-F-G-A-B-C | C | Dm | Em | F | G | Am | Bmb5 |
| F | 1b | F-G-A-Bb-C-D-E-F | F | Gm | Am | Bb | C | Dm | Emb5 |
| Bb | 2b | Bb-C-D-Eb-F-G-A-Bb | Bb | Cm | Dm | Eb | F | Gm | Amb5 |
| Eb | 3b | Eb-F-G-Ab-Bb-C-D-Eb | Eb | Fm | Gm | Ab | Bb | Cm | Dmb5 |
| Ab | 4b | Ab-Bb-C-Db-Eb-F-G-Ab | Ab | Bbm | Cm | Db | Eb | Fm | Gmb5 |
| Db | 5b | Db-Eb-F-Gb-Ab-Bb-C-Db | Db | Ebm | Fm | Gb | Ab | Bbm | Cmb5 |
| Gb | 6b | Gb-Ab-Bb-Cb-Db-Eb-F-Gb | Gb | Abm | Bbm | Cb | Db | Ebm | Fmb5 |
| Cb | 7b | Cb-Db-Eb-Fb-Gb-Ab-Bb-Cb | Cb | Dbm | Ebm | Fb | Gb | Abm | Bbmb5 |
| Natural Minor Keys | |||||||||
| Sharp keys | Chords | ||||||||
| Name | Key signature | Notes | i | iib5 | bIII | iv | v | bVI | bVII |
| Am | 0 | A-B-C-D-E-F-G-A | Am | Bmb5 | C | Dm | Em | F | G |
| Em | 1# | E-F#-G-A-B-C-D-E | Em | F#mb5 | G | Am | Bm | C | D |
| Bm | 2# | B-C#-D-E-F#-G-A-B | Bm | C#mb5 | D | Em | F#m | G | A |
| F#m | 3# | F#-G#-A-B-C#-D-E-F# | F#m | G#mb5 | A | Bm | C#m | D | E |
| C#m | 4# | C#-D#-E-F#-G#-A-B-C# | C#m | D#mb5 | E | F#m | G#m | A | B |
| G#m | 5# | G#-A#-B-C#-D#-E-F#-G# | G#m | A#mb5 | B | C#m | D#m | E | F# |
| D#m | 6# | D#-E#-F#-G#-A#-B-C#-D# | D#m | E#mb5 | F# | G#m | A#m | B | C# |
| A#m | 7# | A#-B#-C-D#-E#-F#-G#-A# | A#m | B#mb5 | C | D#m | E#m | F# | G# |
| Flat Keys | Chords | ||||||||
| Name | Key signature | Notes | i | iib5 | bIII | iv | v | bVI | bVII |
| Am | 0 | A-B-C-D-E-F-G-A | Am | Bmb5 | C | Dm | Em | F | G |
| Dm | 1b | D-E-F-G-A-Bb-C-D | Dm | Emb5 | F | Gm | Am | Bb | C |
| Gm | 2b | G-A-Bb-C-D-Eb-F-G | Gm | Amb5 | Bb | Cm | Dm | Eb | F |
| Cm | 3b | C-D-Eb-F-G-Ab-Bb-C | Cm | Dmb5 | Eb | Fm | Gm | Ab | Bb |
| Fm | 4b | F-G-Ab-Bb-C-Db-Eb-F | Fm | Gmb5 | Ab | Bbm | Cm | Db | Eb |
| Bbm | 5b | Bb-C-Db-Eb-F-Gb-Ab-Bb | Bbm | Cmb5 | Db | Ebm | Fm | Gb | Ab |
| Ebm | 6b | Eb-F-Gb-Ab-Bb-Cb-Db-Eb | Ebm | Fmb5 | Gb | Abm | Bbm | Cb | Db |
| Abm | 7b | Ab-Bb-Cb-Db-Eb-Fb-Gb-Ab | Abm | Bbmb5 | Cb | Dbm | Ebm | Fb | Gb |
will also post the above table as a sticky
Last edited:
DavidStarz
New member
What's the reasoning behind not using the 2 chord for dance music? Just curious
B Side Producer
Moderator
You can also check this post/link
https://www.futureproducers.com/for...sound-design/what-chords-fit-my-scale-493619/
bandcoach
Zukatoku - Mod Scientist
the tables lists major and natural minor scales
read down the left hand side until you find your target scale/key
the go across to find what notes are altered in your scale from the c major/a minor scale, what chords are available and how they are named
in this case that is Gm which has two flats Bb and Eb - G-A-Bb-C-D-Eb-F-G
your chords are
Gm - G-Bb-D
Amb5 - A-C-Eb
Bb - Bb-D-F
Cm - C-Eb-G
Dm - D-F-A
Eb - Eb-G-Bb
F - F-A-C
note that the notes for each chord are not included in the above table, but can be easily worked out by taking every other note after the naming note
fuller version including harmonic minor and melodic minor can be found here https://www.futureproducers.com/for...esign/major-minor-scales-their-chords-495084/
bandcoach
Zukatoku - Mod Scientist
it is not so much the iib5 chord as the mb5 chord in general: it is a diminished triad and as such is considered unstable (it is the top 3/4 of a dominant 7th chord (V7 in the major and bVII7 in the natural minor))
using iib5 should always be considered to be a triad that resolves to either bIII or i in the natural minor (these are respectively the relative major and the tonic chords) which only serves to highlight the instability of the chord - that it resolves in 2 directions without any problem or preparation
Last edited:
Yumid
New member
Like band coach said it just has a sort of a dissonant feel to it. Doesn't really go well with the whole vibe that the musics supposed to be. With that being said Ive used 2 chords a lot..thats why i said its worth experimenting. I just figured it was worth mentioning since I've read that about the 2 chord and dance music from multiple different sources. But whatever ends up sounding right. Ive came into times where I didn't want anything other than the 2 chord.