Key and chord chart
A chart with keys and chords showing the relationship of chords in all the keys can be seen below. From left to right you can see a key and the chords that belong to it. If you are looking for an overview of guitar chords, see the chart with diagrams.
Chart with chords sorted by key
| Key | I | ii | iii | IV | V | vi |
|---|---|---|---|---|---|---|
| C# | C# | D#m | E#m | F# | G# | A#m |
| F# | F# | G#m | A#m | B | C# | D#m |
| B | B | C#m | D#m | E | F# | G#m |
| E | E | F#m | G#m | A | B | C#m |
| A | A | Bm | C#m | D | E | F#m |
| D | D | Em | F#m | G | A | Bm |
| G | G | Am | Bm | C | D | Em |
| C | C | Dm | Em | F | G | Am |
| F | F | Gm | Am | Bb | C | Dm |
| Bb | Bb | Cm | Dm | Eb | F | Gm |
| Eb | Eb | Fm | Gm | Ab | Bb | Cm |
| Ab | Ab | Bbm | Cm | Db | Eb | Fm |
| Db | Db | Ebm | Fm | Gb | Ab | Bbm |
| Gb | Gb | Abm | Bbm | Cb | Db | Ebm |
| Cb | Cb | Dbm | Ebm | Fb | Gb | Abm |
In essence, the table gives tips on which chords to play together. Chords on the same rows will always sound good in different progressions because they belong to the same key. See also an extended version of the chart below and a table from a minor key perspective.
How to use the table
The chord chart above is very useful because it tells you which chords that belongs to a certain key. As soon you know this, you also know which chords that are well played together.
For an example, look at the chord chart and the column that begins with C. Here we find C major, D minor, E minor, F major, G major and A minor. Every one of these chords always sound nice together. Try the following chord progression:
C — Em — Am — F — G — C
Really nice and smooth, isn’t it? Of course, sometimes we want some dissonance in our music but the chart above gives us the fundamentals for creating chord progressions.
One more area in which the chart can assist us is in writing our own songs. As we recognize chords that match, we can use them together then composing music.
Chords in the key of.
To help you out in the most common keys for guitar here are some shortcuts that can come handy:
Chords in the key of G: G, Am, Bm, C, D and Em
Chords in the key of C: C, Dm, Em, F, G and Am
Chords in the key of D: D, Em, F#m, G, A and Bm
Chords in the key of A: A, Bm, C#m, D, E and F#m
It is also possible to play in minor keys and here are some common minor keys and chords:
Chords in the key of A minor: Am, C, Dm, Em, F and G (you can substitute Dm for D and Em for E)
Chords in the key of E minor: Em, G, Am, Bm, C and D (you can substitute Am for A and Bm for B)
For the other keys, use the table below. For more instructions, see the article about chords that sound good together.
Expanded chart
| Key | I | ii | iii | IV | V | vi | ||
|---|---|---|---|---|---|---|---|---|
| C# | C# | D#m | E#m | F# | G# | A#m | D# | E# |
| F# | F# | G#m | A#m | B | C# | D#m | G# | A# |
| B | B | C#m | D#m | E | F# | G#m | C# | D# |
| E | E | F#m | G#m | A | B | C#m | F# | G# |
| A | A | Bm | C#m | D | E | F#m | B | C# |
| D | D | Em | F#m | G | A | Bm | E | F# |
| G | G | Am | Bm | C | D | Em | A | B |
| C | C | Dm | Em | F | G | Am | D | E |
| F | F | Gm | Am | Bb | C | Dm | G | A |
| Bb | Bb | Cm | Dm | Eb | F | Gm | C | D |
| Eb | Eb | Fm | Gm | Ab | Bb | Cm | F | G |
| Ab | Ab | Bbm | Cm | Db | Eb | Fm | Bb | C |
| Db | Db | Ebm | Fm | Gb | Ab | Bbm | Eb | F |
| Gb | Gb | Abm | Bbm | Cb | Db | Ebm | Ab | Bb |
| Cb | Cb | Dbm | Ebm | Fb | Gb | Abm | Db | Eb |
Expanding the chord possibilities
This second table gives you some possibilities beyond what is presented in the first table. One example of chord progression using the expanding chords in the key of G is:
To include a chord from the e second of the expanded rows, this progressions works well in the key of C:
C — E — Am — F or C — E7 — Am — F
You could even add a third chord beyond the standard key chords: iiimajb. In the key of G this would be Bb. One example of chord progression is G — Bb — C — D.
Chart with four-note chords sorted by key
| Key | I | ii | iii | IV | V | vi |
|---|---|---|---|---|---|---|
| C# | C#maj7 | D#m7 | E#m7 | F#maj7 | G#7 | A#m7 |
| F# | F#maj7 | G#m7 | A#m7 | Bmaj7 | C#7 | D#m7 |
| B | Bmaj7 | C#m7 | D#m7 | Emaj7 | F#7 | G#m7 |
| E | Emaj7 | F#m7 | G#m7 | Amaj7 | B7 | C#m7 |
| A | Amaj7 | Bm7 | C#m7 | Dmaj7 | E7 | F#m7 |
| D | Dmaj7 | Em7 | F#m7 | Gmaj7 | A7 | Bm7 |
| G | Gmaj7 | Am7 | Bm7 | Cmaj7 | D7 | Em7 |
| C | Cmaj7 | Dm7 | Em7 | Fmaj7 | G7 | Am7 |
| F | Fmaj7 | Gm7 | Am7 | Bbmaj7 | C7 | Dm7 |
| Bb | Bbmaj7 | Cm7 | Dm7 | Ebmaj7 | F7 | Gm7 |
| Eb | Ebmaj7 | Fm7 | Gm7 | Abmaj7 | Bb7 | Cm7 |
| Ab | Abmaj7 | Bbm7 | Cm7 | Dbmaj7 | Eb7 | Fm7 |
| Db | Dbmaj7 | Ebm7 | Fm7 | Gbmaj7 | Ab7 | Bbm7 |
| Gb | Gbmaj7 | Abm7 | Bbm7 | Cbmaj7 | Db7 | Ebm7 |
| Cb | Cbmaj7 | Dbm7 | Ebm7 | Fbmaj7 | Gb7 | Abm7 |
There are more categories of four-note chords, but these are suggestions of chords that fit well together. For example, it is common to use a seventh dominant as the V chord.
Chord substitutions
Whenever a chord is marked with a 7th, you could always substitute it with a 9th, an 111th or a 13th chord. Following the same concept, a m7 or a maj7 chord could as well be substituted with a m9 or a maj9, respectively, and so on. All extended chords don’t function in this way, however. Minor 6th and minor 13th chords are atonal in the degree that they will not match the same key as the relevant triad minor. So, for example, replacing Em7 with Em6 in the key of G major will lead to some dissonance.
Chart with chords sorted by minor key
| Key | i | iiВ° | III | iv | v | VI | VII |
|---|---|---|---|---|---|---|---|
| A#m | A#m | C# | D#m | E#m | F# | G# | |
| D#m | D#m | F# | G#m | A#m | B | C# | |
| G#m | G#m | B | C#m | D#m | E | F# | |
| C#m | C#m | E | F#m | G#m | A | B | |
| F#m | F#m | A | Bm | C#m | D | E | |
| Bm | Bm | D | Em | F#m | G | A | |
| Em | Em | G | Am | Bm | C | D | |
| Am | Am | C | Dm | Em | F | G | |
| Dm | Dm | F | Gm | Am | Bb | C | |
| Gm | Gm | Bb | Cm | Dm | Eb | F | |
| Cm | Cm | Eb | Fm | Gm | Ab | Bb | |
| Fm | Fm | Ab | Bbm | Cm | Db | Eb | |
| Bbm | Bbm | Db | Ebm | Fm | Gb | Ab | |
| Ebm | Ebm | Gb | Abm | Bbm | Cb | Db | |
| Abm | Abm | Cb | Dbm | Ebm | Fb | Gb |
The minor version is easy to learn since it’s just a mirror of the major version with a different order. The I chord is now function as III chord and so on. To simplify, the iiВ° column has been left empty since the diminished chords are seldom used in a triad context.
It would be possible to create a chromatic key overview. For the C major, it would include the following chords: C — C# — D — Eb — E — F — F# — G — Ab — A — Bb — B. This organization would be less useful, though. For one thing, the notes wouldn’t be decided as either major or minor.
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How to Start Soloing in all 12 Keys
\n When most guitar players first start trying to play \»guitar solos,\» their soloing is quite often confined to only a few keys. Most commonly, those keys are going to be minor keys of, \»A Minor,\» and \»E Minor.
\n \n \n \n \n \n \n Creative Guitar \n \n \n \n \n
When most guitar players first start trying to play \»guitar solos,\» their soloing is quite often confined to only a few keys. Most commonly, those keys are going to be minor keys of, \»A Minor,\» and \»E Minor.\»
However, over time, (and with more practice studying songs and styles), guitarists will begin branching out into more and more keys.
While this is great, it can sometimes take the guitarist many, many years of hard work. Fortunately this can be solved rather quickly, in around 30 days in fact. And, on this episode of the Guitar Blog Insider, we’re going to accelerate this process with a 30 day action plan for, \»How to Start Soloing in All 12 Keys\»
WATCH THE VIDEO:
THE 12 KEYS OF MUSIC:
Establishing a practice routine for working on soloing in all 12 of the musical keys will first involve becoming aware of a few things. The first thing is making it clear on what the keys are that you’ll be focusing in on, and separating the Major from the Minor tonality.
This means that, if you’ve never taken the time to become clear on the 12 keys of music (and getting to know their relative minor tonality), you really need to begin starting out by learning the key signature concept first.
UNDERSTANDING KEYS:
The 12 musical keys consist of keys that are constructed of both sharp and flat tones. Those tones are going to be mixed with natural tones. There’s also a natural key that is all neutral letter names. It’s called the key of, \»C Major.\» It has no sharps, or flats.
Key signature ideas are best learned separated into the keys that contain sharps and keys that are containing flats. So, let’s begin with the sharp keys. Those sharp keys, (in order of their sharp key signatures), will involve the keys of; \»G, D, A, E, B, and F#.\»
Next, you’ll want to know the flat keys. Those are the keys of, \»F, Bb, Eb, Ab, Db, and Gb.\» Now, keep in mind that the keys of \»F#\» and \»Gb\» contain all of the same tones. They’re generally referred to as overlapping keys. And, when all these keys are added up (considering the key of \»C\») and the overlapping keys of \»F# and Gb\» we get 12 keys.
RELATIVE MINOR:
The next idea to make sure you’re aware of is that (those keys we just ran through) are part of the tonal group we call \»Major\» keys. And, they each have a direct association to what is referred to in music as a \»Relative Minor,\» counter-parts.
How we judge those (associated minor keys), is by way of taking the 6th note of the major key and using that tone as the \»Relative Minor.\» As an example, if I were to take the 6th note of the key of \»C Major,\» I’d get the note of \»A.\» This means, that \»A Minor\» is the related minor key to that of \»C Major.\» And, since you can do this with all 12 keys, we can take those Major keys and develop a new group of 12 keys that are part of the Minor Tonality.
Doing that would give us; one neutral key of \»A Minor,\» (based on C Major), and on the sharps side, we’d get; \»E, B, F#, C#, G#, D#,\» and from the Flat direction, we’d get; \»D, G, C, F, Bb, Eb.\» Once again, the last keys of \»D# and \»Eb,\» are considered as \»over-lapping keys\» and function musically as the same keys with different letter names.
THE 12 KEY STUDY SYSTEM:
Alright, now that you understand all of the names of the keys in music, along with how some notes overlapp across the key signatures, (and how they can be viewed as both major and minor), the next step is creating a practice routine for running through them all with a study system that will get you up to a level of skill for soloing in all 12 keys.
Here’s what I’m going to suggest. Start with 6 keys, (3 major and 3 minor). And, over the next 6 days practice applying these keys over a basic jam-track that uses a simple, \»I-IV-V\» chord progression within each of your chosen keys.
You can record it on a loop pedal, or maybe even use your favorite digital audio recording system. Whatever you decide to record the 1-4-5 on. over the next 6 days make sure you practice soloing using the appropriate scales for every progression in all six keys, over the entire guitar neck. I demonstrate doing this in the video (at 06:24) with the key of \»A Major.\»
EXPANDING ON THE SYSTEM:
Once you’ve developed your 6-day routine for covering 6 keys, (of 3 major and 3 minor), the next step is to swap out those 6 keys for a new group of six. At that point, I’d suggest starting all over again, except, if you’d like to, you can of course change the chord progression, but only if you feel that you’re okay with that.
What I mean is that, instead of using a 1-4-5, I’d switch over to something new. Perhaps try incorporating a 1-3-6-5, or maybe use a 3-6-2-5. Whatever you decide upon, (in terms of your chord progression), make sure that you create both a major and a minor tonality version. And, every 6 days, switch to a new group of key signatures.
Also, you’ll want to keep in mind that over the course of a month, (if you can maintain this study routine), you’ll have practiced in all possible keys in both major and minor. Setting up a fantastic exercise routine for learning to solo in all of the musical key signatures.
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